Forced Exposure New Releases for the Week of 8/15/2022
New music is due from Kali Malone, Zemi17, and Felicia Atkinson, while old music is due from Interior, Pussy, and Jan Jelinek.
FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 08/15/2022
we also accept orders via FAX at 781 321 0321
and via mail:
FORCED EXPOSURE / 60 Lowell Street / Arlington, MA 02476 / USA
for more information about shipping or ordering
please refer to our FAQ
direct any questions to
CAT #: AES 004LPVIGROUX, FRANCK Atotal LP
LP version. New full-length album of Franck Vigroux's uncompromising signature sound of colossal electronic music. Atotal gathers material from Franck's latest live A/V of the same name. Working with his longtime visual partner Antoine Schmitt, Atotal is an audiovisual performance aiming to reconstruct in order to better deconstruct the processes of imposition of will by repetition and absolute synchronism, to propose a breach to a potentially life-saving de-coincidence. The total work of art, when pushed to its paroxysm of absolute coincidence of the perceptions of a captive spectator, is similar to the techniques of mental manipulation of totalitarian regimes, proceeding by annihilation of the critical mind, repetitive semantic pounding, subliminal messages. The ideal of a deterministic universe of Newton in which everything rationally stems from its causes, in which everything is predictable like a totality for Laplace's daemon, where everything can be considered already written, has been undermined in the infinitely small of the uncertainties of Heisenberg which tell us that it is impossible to know everything about a particle, in the quantum mechanics of Schrödinger which reveals to us that the looker affects the looked-at, and in the infinitely abstract of Gödel's incompleteness which explains to us that certain things are literally unexplainable. The show Atotal slips into these flaws and, like a clinamen of Lucretia, deviates the visual and audio atoms from their destiny. Mastering by Denis Blackham. Artwork by Mostafa Khaled.
AFFIN LTD (UK)
CAT #: AFFIN 004LTD-LPBVDUB Decades On Divided Stars 2LP
On Decades On Divided Stars, Brock Van Wey, aka bvdub, presents his first album on Affin LTD, each of its tracks spanning his trademark Odyssean length, with a sonic and emotional density second to none. You are lost... losing your sense of time... of self. Yet finding your inner existence in its inwardly-folding galaxies. Your thoughts and emotions revolve, as planets caught in gravitational pull, before you suddenly awake, as if from a dream, unaware of how much time has passed. Only the stars will tell...
ANGRY YOUNG WOMEN (ITALY)
CAT #: AYW 003LPVA Knuckle Girls Vol. 3 (14 Territorial Turf War Tunes from the Tomboy Goons in Split-Knee Loons) LP
An extract from the novel Bovver Birds Rool: "Dawn's preferred nickname was 'Demolition Girl'. Or, 'Demolition Dawn', if needs must. She would never answer to just plain old 'Dawn', though. 'Dawn' was completely out. She was tired of blokes asking if they could see her 'crack', for a start. That was never funny, to Dawn. Or the blokes, after they'd said it and got their comeuppance. And then there was Jane. Her friends called her 'Jane Pain', because she liked to inflict it on her enemies in lethal doses. Her enemies called her 'Plain Jane', which she wasn't, but she was hardly the Daily Mirror's wartime glamour girl Jane, either. A one-girl war? Yeah, sometimes. Especially if you were one of the chancers attempting to call her 'Plain'. Or, if you were attempting to cause aggro for her beloved Dawn. And these were The Knuckle Girls. Well, two of them, anyway. The others were many but lesser-spotted, like their Bovver Bird adversaries, unless there was a crisis, which was most weeks. Most days, sometimes. Friday nights were the worst." Features Diana Demon, Norah, Debbie Byrne, Maureen Elkner, Kiki Dee, Mamba Strike, Bobbie McGee, Jackie & Jan, Faith Brown, Vic Lezal's Professionals, The Blackboard Rubber Band, Alexandra Rubin, Jessy Joyce, and an unknown artist.
CAT #: ATMV 097EPNOCUI Entrain 12"
After releasing on Atomnation's Unfold Vol. 2 in 2021, Berlin-based Italian NOCUI returns with more rich and uplifting grooves on his new 12" Entrain. Leonardo Di Fiore (NOCUI's real name) is a Rome-born composer and a classically trained pianist who brings a performative approach to how he makes music. An early love of jazz also permeates his work and he now considers himself a "studio and sound design obsessive." That shows in the meticulously crafted, always fresh music he makes on his go-to drum machine, the Jomox Alpha Base. NOCUI is also adept at speaking through other key bits of gear such as the Roland SH101, Acidlab 303, DSI Prophet 6, and Haken Continuum Fingerboard -- machines that lend his music its signature sound and have taken him to labels like Traum and Wildfire.
CAT #: ATMV 101EPARGIA Backgammon 12"
Spanish artist Helena Piti continues to establish her artful Argia alias with a mini-album on Atomnation. Across six superb tracks, the formally trained artist brings serenity, musicality and gorgeous melody to her stylishly designed sounds. Piti has been immersed in music all her life. From a young age, she studied piano and double bass at the conservatory before evolving into the electronic world and quickly making her mark. She has released with the likes of Stil Vor Talent, Sincopat. and DUAT while holding down her esteemed residency at Madrid's well-known Mondo Disko and touring places like Watergate and about:blank. This self-taught producer uses music as a way of expressing a wide range of inner feelings and she has plenty lined up for 2022 including this adventurous new release.
AUSTUDY RECORDS (AUSTRALIA)
CAT #: AUS 001LPVA Burning It Up: Australian Reggae 1979-1986 LP
Austudy Records present its debut release Burning It Up: Australian Reggae 1979-1986. A compilation surveying the influence of reggae on Australia's preoccupation with rock, pop and new wave between the years of 1979-1986. This selection of eight obscure tracks originally issued on 7" records represent some of the earliest examples of reggae sounds in Australian recorded music. Features Nights In Shining, Wide Boy Youth, Delaney Venn, Time Lords Inc., Lifesavers, Janie Conway, Jo Jo Zep & The Falcons, and The Agents. 12-page booklet; edition of 500.
BATOV RECORDS (UK)
CAT #: BTR 030EPSABABA 5 FEAT. YURIKA Crossroad of Love 7"
2019 release. Limited edition transparent green vinyl. Sababa 5 was formed by a group of musicians known for their work for some of Tel Aviv's top artists/vocalists, such as Gili Yalo, Ester Rada, and Liraz Charhi, as well as with famous groups like Hoodna Orchestra, Tigris, and Kutiman Orchestra. With members' influences that range from wrecking crew recordings from the '60s, to analog Middle Eastern music from the '70s, the sound of the band constantly revolves around different genres and rhythms, yet, in its core, Sababa 5 is always a groove-centric band. Last year the band finished construction on their new recording space, a space that was especially built to accommodate live full-band recordings. Its location is right by the border of Jaffa and Tel Aviv, on Eilat St., hence the name Eilat Studios. Sababa 5 has just finished recording a new instrumental EP, with the aim to record more in the near future, in its new headquarters.
CAT #: BTR 051EPCLOUD OF I Gazing 12"
2021 release. Dreamt up in the 18th District, in a Paris squat, and realized back in her spiritual home, of Tel Aviv, Cloud Of I is Yuli Shafiri's first musical incantation. The EP, aptly entitled Gazing, comes from an artist who sees nature and earth as her biggest inspiration, and whose sound blurs somewhere between fuzzed out psychedelic acid folkery and layered electronic sweeps full of influences from the Middle East. Whilst only 27 years old she's well educated on music from far away places. Her mother's family is from the Iraqi-Jewish community of India and her father's family is Latvian and Lithuanian who came to Israel to founded a feminist agricultural Kibbutz called Kineret, on the sea of Galilee. So, it's no surprise to hear the journeying aspect of her songs as they grow and grow, sometimes growling, other times whispering yet always intent on climbing and descending. "I want the listener to enter an ecstatic meditative state," Yuli says, and that sense of out-of-body is alive on debut track "Sail Away" the first song from the EP taking cues from the ethereal, otherworldliness of Julia Holter and the global psychedelia of Goat, Khruangbin, or Alt?n Gün. It's a blueprint for the rest of the EP which is split between English and her mother Hebrew tongue. In Tel Aviv, Yuli used to sing and perform with a well-known band called The White Screen (who play a mix of psych-pop and art-rock) and in the last two years, up until 2019, she has been singing Turkish '70s psych with the band, Satellites. Asked about her recent dealings with inactivity and how she experienced 2020 she is serene and positive, having gone off grid with her contemporaries in a village in Israel where she kept creating and performing in the open air, under the stars, and around bonfires. The fire is most definitely burning. As Yuli looks ahead and dreams, we can enjoy this first foray that sees her literally reaching for the skies.
CAT #: BTR 054EPSABABA 5 Pur/Baksheesh 7"
2021 release. Sababa 5 returns with a double dose of euphoric Persian psych and purely instrumental groove on Pur/Baksheesh, the tenth release on the highly collectible Batov Records Middle Eastern Grooves series. Tel Aviv based four-piece Sababa 5 is practically a supergroup of musicians from the local scene, having earned their chops in the likes of the Hoodna Orchestra, Tigris, and Kutiman Orchestra. Between them, they have recorded and performed with leading vocalists such as Gili Yalo, Ester Rada, and Liraz Charhi. Liraz Charhi won wide acclaim delving into her Persian roots on her recent releases, secretly recording with Iranian musicians. Whilst backing Charhi on tour, Sababa 5 guitarist Ilan Smilan and bassist Amir Sadot had to learn the music inside and out and, in the process, developed an obsession with Persian music too. Sababa 5's knack for Middle Eastern grooves with killer hooks is also apparent on their recent 45 for Batov Records. On A-Side "Pur" (Persian for "luck"), an additional drum machine kick subtly adds a steady pulse to the song, which peaks with a wild synth solo by Eitan Drabkin. On the flip, "Baksheesh" (bribery) begins with a slippery, almost surf- like Middle Eastern guitar motif, before the powerful bassline and skittery drum rhythm deliver the groove. However, the star of the show could well be Eitan's gritty organ. Apart from delivering the hook, the organ solos through half the record with near wild abandon. In summary, Pur/Baksheesh is another essential pair of instrumental grooves from Sababa 5 and Batov Records, ready for the discerning dancefloor, kitchen, or bedroom.
CAT #: BTR 055EPSABABA 5 Rosenzweig/Smilansky 7"
2021 release. On "Rosenzweig", the four-piece Sababa 5 blend their Turkish psych-influenced style with a Jimmy Smith jazz groove. Eitan Drabkin's organ leads the motif, before stepping back to support the rhythmic charge of Raz Man's tight drumming, whilst guitarist Ilan Smilan solos like Grant Green on a Middle Eastern odyssey. "Smilansky" slows proceedings further still, really allowing Drabkin and Smilan's brilliant musicianship to shine over the airtight rhythm section of Raz Man and bassist Amir Sadot. This deadly double-sided 45 follows 2021's electric Pur/Baksheesh single, as championed by BBC Radio 6 Music's Cerys Mathews and Gideon Coe. Practically a supergroup, the band earned their chops with the likes of the Hoodna Orchestra, Tigris, and Kutiman Orchestra. Between them, and have recorded with leading vocalists such as Gili Yalo, Ester Rada, and Liraz Charhi. Another essential pair of instrumental grooves from Sababa 5 and Batov Records, perfect for the beginning or end of the night.
CAT #: BTR 056EPSATELLITES Seni Sen Oldugun Icin Sevdim 7"
2021 release. ?atellites return to Batov Records' essential Middle Eastern Grooves 45s series with Seni Sen Oldug?un I?c?in Sevdim -- another irresistible pair of fresh takes on Turkish psych and folk. On the A-side, the four-piece tackle "Seni Sen Oldug?un I?c?in Sevdim", a lesser-known gem by Arabesque pioneer Hakk? Bulut, with the force of The Stooges crossed with the JBs. The song kicks off with a mighty swathe of synth before Ariel Harrosh on bass and Raz Man on drums launch an aggressive groove, crowned by Itamar Klüger on electric saz. Before you can catch your breath, Yuli Shafriri beautifully and clearly voices the infectious melody. On the flip, ?atellites deliver another deadly instrumental jam, putting on a raw and up-tempo psych-rock spin, à la Jefferson Airplane, on the traditional "?askin". This version is tailor-made for toe-tapping and dancing in a safer, freer world. ?atellites met and bonded over a shared love for Turkish psych. Ariel and Raz happened to be looking for a saz player whilst Itamar, obsessed with Anadolu rock, collecting records, and attempting to emulate his heroes on a bargain saz, was looking for a band. Rather than attempting exact facsimiles of these gems from another time and place, the band allows the songs to run through them, capturing the influences and experiences of musicians who grew up in the '90s in Tel Aviv, listening to psych and rock, Led Zeppelin to Rage Against the Machine. Operating as a full democracy from the start, they continue to tighten their chops by busking regularly in a flea market in Jaffa.
CAT #: BTR 063EPSABABA 5 & SHIRAN TZFIRA Rali 12"
Sababa 5 sharpens their euphoric Middle Eastern psych sound into an infectious four-track EP, featuring vocal revelation Shiran Tzfira, recorded here for the very first time. Together they reinterpret the traditional Yemenite songs of Shiran's childhood into modern and irresistible blends of disco, funk, boogie, pop, and rock. Sababa 5 and Shiran bonded over a shared love of Yemeni folk songs and set out to rearrange them in Sababa's style, led by Shiran's striking vocals. An effect comparable to Altin Gün's modern take on Turkish songs. "Ya Hizali", sets the tone for the EP. Shiran's sublime vocals in Arabic Yemenite are supported by an exuberant yet subversive disco framework. The pace slows on "Ya Hiah", but the intensity doesn't falter. Far from it, the song's strong pop-like progression is balanced by an irresistible synth laced twostep boogie groove. Moving into the second half of the EP, sung in Hebrew Yemenite, "Sei Yona" pushes the rhythmic pulse into funk territory, with an afrobeat inspired bassline, whilst retaining that laidback, sultry feel encouraging dancers to lose themselves in the groove. "Sapari Tama" exhibits a step up in intensity, the closest song on the EP to an invitation to not simply dance but jump to the beat, laid of pulsing synth bass. Hints of Stereolab sojourned in the Middle East. On this, their first EP after a string of popular, sell-out 45s, and in collaboration with Shiran Tzfira, remarkably on her recording debut, Sababa 5 is destined to widen their growing fanbase even further with this incredible collection of songs. For fans of: Alt?n Gün, Derya Y?ld?r?m & Grup ?im?ek, Y?N Y?N.
BE WITH RECORDS (UK)
CAT #: BEWITH 103LPCARR WITH NUCLEUS, IAN Labyrinth LP
Reissue, originally released on Vertigo in 1973. Labyrinth is dark, brooding, beat-heavy, melancholic mood music courtesy of Ian Carr and the Nucleus crew. A favorite of Madlib, it goes without saying that this is one magnificent record. Originally released on Vertigo in 1973, Labyrinth was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it's aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press. Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. At this point Carr had parted ways with guitarist Alan Holdsworth and as a result the Nucleus sound found itself returning to the core elements of groove and melody. Carr had become bolder and more self-confident in his compositions and it shows in the sheer ambition of Labyrinth, composed by Carr and with lyrics written by his wife Sandy. Originally a live performance by an augmented Nucleus, some of the expanded cast were brought back for the recording sessions, including vocalist Norma Winstone. Labyrinth is presented as a suite, based on the ancient Greek legend of the Minotaur with musical instruments representing the various elements of the mythology. According to the LP's original sleeve notes, the bass clarinet represents the tragic element, the trumpet represents the heroic element and the voice represents the human element. The rest of the musicians represent the two societies of Athens and Crete and their comments on the story as it unfolds. The album opens with the experimental, sumptuously dissonant "Origins", teasing strands of atmospheric bass clarinet introduce the first theme before swiftly fading out with a startling blast of staccato fanfares and big drums. The album soon finds its rhythm as it alights on the spell-binding and groove-friendly "Bull-Dance", with subtle trumpet melodies, compelling rhythms, a psych-rock vibe, and tight soloing. And of course, there's Norma Winstone's stunning wordless vocals, that also take the lead in the next track "Ariadne", a spacey-jazz song with beautiful piano, flute, and clarinet. You might recognize a snatch of it being looped by Madlib on Quasimoto's "Astro Travellin". The first part of the improvised "Arena" closes out the first side of the album, a short experimental piece with piano and horns. The powerful second part of "Arena" swiftly builds, with vocal melodies, piano, and horns. It comes on like an alternate take on "Bull-Dance", noisier, with a looser rhythm. The triumphant, shuffling Latin-jam "Exultation" leans on more scintillating vocals from Winstone, and a chunky counter melody from the rhythm section. The haunting, twelve minute "Naxos", is an incredible way to close out this remarkable record. Remastered from the original Vertigo master tapes. Mastered by Simon Francis. Cut by Pete Norman. Gatefold sleeve.
CAT #: BEWITH 105LPNUCLEUS Alleycat LP
Reissue, originally released on Vertigo in 1975. Another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr's Nucleus. Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. Alleycat was the last Nucleus album recorded for the Vertigo label. It was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there's so much energy coursing through the music that at times it sounds like a live recording. It's pretty unbeatable. Up-tempo opener "Phaideaux Corner" is a funk-flavored opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins's percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr's elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially "straight" trumpet solo with later use of echo to mesmeric effect. And there's some excellent wah-wah guitar shredding by Ken Shaw too. The second side opens with the killer "Splat" and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often-mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. "You Can't Be Sure" is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr's muted trumpet and some marvelous fretless work from Sutton. The album closes with Bob Bertles's galloping "Nosegay", written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It's an example of well-crafted jazz-rock that doesn't compromise any of its jazziness, yet it still very definitely rocks. Remastered from the original Vertigo master tapes. Mastered by Simon Francis. Cut by Pete Norman.
CAT #: BNSD 064LPWRIGHT, JUSTIN A Really Good Spot LP
Montreal composer and cellist Justin Wright's sophomore album is an ode to the creative process, intricately stitched together from cassette loops, string improvisations, modular synthesizer patches, field recordings, and orchestral arrangements. While the cello remains a central engine behind many of the tracks, A Really Good Spot is a drastic departure from Justin's previous records. The transparent result, mixed by Pietro Amato (Bell Orchestre, The Luyas), intimately and honestly embraces the beautiful spontaneous moments, tribulations, and studio edits. A Really Good Spot is a celebration of process. Justin met Pulitzer-winning composer Caroline Shaw as he was experimenting with cassette loops during a residency at the Banff Centre. Shaw pushed him to apply for Princeton University's highly selective PhD program in composition with her recommendation, where he was accepted despite having no formal music education. At Princeton, Justin completed the album with instruction from composers such as Donnacha Dennehy, Steve Mackey, Dan Trueman, and Juri Seo. Over the winter of 2021, Justin was unexpectedly diagnosed with cancer (prognosis: likely OK), adding another layer to the story of this album and leading to an earlier-than-expected release. Stemming from an eventful five years, A Really Good Spot presents an abstract exploration and appreciation for the processes of artistic and personal evolution, pushing boundaries while still maintaining an emotional and evocative sound. Co-release with First Terrace Records."When I first started writing tracks for A Really Good Spot, I didn't have much in mind other than wanting cello, wanting synthesizers, and feeling like I was long overdue for writing new material. But once I got started, I was having so much fun coming up with new methods for writing that I wondered: what if 'procedurality' could appear on a spectrum, just like dynamics or tempo? Why is process something we try to cover up? There is something that feels so dishonest about a pristine, polished album that fits together a little too perfectly, as if all the tribulations leading up to it are swept aside in the name of presentability. Of course, time is an enemy of simplicity, and what began as an attempt to bring process to the foreground turned into what the album is today: a surrealist spectrum of methodology, where the techniques showcased may or may not be real, where the orchestration confidently reinforces the most haphazard nonsense elements, and where the playfulness occasionally steps aside for moments of somber clarity." --Justin Wright
BO WEAVIL RECORDINGS (UK)
CAT #: WEAVIL 016CDKRAUS/MEG BAIRD/HELENA ESPVALL, SHARRON Leaves From Off The Tree CD
2022 restock. Bo' Weavil releases Leaves From Off The Tree: a three-way project of Sharron Kraus, Meg Baird (Espers) & Helena Espvall (Espers). This is a beautiful recording of traditional folk material, with the most stunning singing and arrangements of some of England and Appalachia's finest songs. The songs on this record were recorded after many an evening swapping songs (and beers!) in Fishtown, Philadelphia, where Sharron had moved from her native England, and Meg and Helena were already installed. Meg and Sharron both had traditional music backgrounds and would meet up and teach each other Appalachian and English ballads, and improvise harmonies and alternate melodies. At some point, Helena was invited along and her voice and cello added a rich new layer. All nine songs were recorded live in one afternoon, so as to capture the relaxed atmosphere of the group's gatherings.
CAT #: WEAVIL 023LPWILKINSON/EDWARDS/NOBLE Obliquity LP
Limited 2022 restock; LP version.Originally released in 2007, Obliquity is a free jazz record, if you'll forgive the use of such a hoary, old-fashioned phrase. Its scorching, heads-down momentum, rhythm and drive, places it in direct line of descent from the fierce originators of the genre: Ayler, Sanders, Graves, and Frank Wright. It also swings. At times it dances. Obliquity is a free jazz record through the prism of the improvisational movement in Europe, though. This is no attempt at polite revivalism or looking back/up to the 1960s. Wilkinson/Edwards/Noble are producing new, vital music of and for now. John Edwards pins down the trio with precision and energy -- his tremendous internal rhythm on display to full effect throughout. Alan Wilkinson is a ferocious improviser, probably best known for membership in the demon Hession/Wilkinson/Fell trio. Obliquity features full-spectrum Wilkinson: flat-out, take-no-prisoners saxophonication, squeals, coughs, sustained improvisational experimentation, and East London tribal chanting. Steve Noble is an upright drummer with a surgeon's accuracy, his crisp percussion work has accompanied dancers, funksters, poets and tuba players. But he's not played better than here: great power allied with grace, a subtle touch and solid time -- the drumming drives the music on to real heights.
BONDAGE MUSIC (GERMANY)
CAT #: BOND 12038LPPOPOVICIU, MIHAI Home 2x12"
Mihai Popoviciu: "The album's called Home because it is inspired by my experiences from my home city Sibiu in Romania. Home is also the place where the album was produced, in my stripped-down studio. It is where I always return to rest and chill after touring the world and the place where I feel most safe and comfortable. The artwork shows an image of the airport lane in Sibiu with surrounding hills and mountains in the back. It is a metaphoric 'gate' to both leave and return home." Across the project, Mihai delivers his signature dancefloor focused, stripped-back style with "ACK", showcasing the hypnotic and percussive style Popoviciu executes so well. The project also drifts into smooth dubby realms via compositions like "Cannon Poets" and "Sunshine" while the likes of "Music 999" radiantly display Mihai's proficient production abilities as he wanders into a brighter more house centric sound. All in all, Mihai Popoviciu turns in a coherent long player whilst exploring a broad range of styles, "Focus" and "Havana" lay down a groove-led feel with subtle modulations and an unfaltering structure, while "Data On Data" and "Hypnosia" tip the focus over to dark and brooding territories with murky synth pads and chugg-y low-end tones. Once again, Popoviciu has proven himself to be one of Romania's finest electronic music exports.
BUREAU B (GERMANY)
CAT #: BB 029LPCLUSTER & ENO Cluster & Eno LP
2022 repress; Bureau B's 2009 reissue. LP version. Originally recorded and released in 1977 on Sky Records, the first collaborative album by Brian Eno and Cluster was the first ambient record produced in Germany, and is considered the seminal, defining work of the genre. Brian Eno was certainly instrumental in creating and popularizing the concept of "ambient music" -- but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air -- both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant. What is certain, is that Brian Eno attended a Cluster concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the Old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: Cluster & Eno and After The Heat (1978). In the liner notes, Asmus Tietchens (who also plays on the record along with Can's Holger Czukay) writes: "Clearly, all three musicians inspired each other during their three weeks together without any clash of personalities. Nevertheless, some tracks sound more like Cluster, some more like Eno. So it made perfect sense to collect the tracks with a Cluster flavor on Cluster & Eno." The importance of this record can never be overstated, nor can its elegance of diverse forms be matched. From Indian sitar and tamboura, to synth warbles and airy tributes to Western groove, it is a rare glimpse at what happens when masters meet.
CAT #: BB 039LPCLUSTER Sowiesoso LP
2022 restock; LP version. The fourth full-length album by legendary German electronic music duo Cluster, originally released on Sky Records in 1976. Sowiesoso follows on from their most highly-acclaimed album, Zuckerzeit (1974). Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Mobius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a four-track tape machine, two Revox A77 stereo tape-decks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of otherworldly electronic and acoustic elements -- relaxed, organic and gentle ambience. This could only be Cluster music; its harmonies reaffirm the quality of song, in spite of eluding song structure as such.
CAT #: BB 282LPHELDON Third (It's Always Rock 'N' Roll) 2LP
2022 restock; Double LP version. Bureau B present a reissue of Heldon's third album Third (It's Always Rock 'N' Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon's darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There's something wicked happening on Heldon's third album It's Always Rock And Roll. Richard Pinhas's essential attack of searing guitar and space-bound synthesizer didn't change radically after the first two Heldon albums, 1974's Electronique Guerilla (BB 280CD/LP) and 1975's Allez-Teia (BB 281CD/LP). But there's dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. "At this time, I tried to turn Heldon into a darker band," Pinhas admits. "But dark is not negative to me." The darkness of It's Always Rock And Roll is more about exploring what's hidden and overturning convention -- about diving beneath bright surfaces to find something more mysterious. If It's Always Rock And Roll stands up in Heldon's catalog, perhaps it's due to expansion -- both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. "I think the length of a track is part of the creation of the track," says Pinhas. "There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands." "We recorded this after having met with Philip K. Dick in California for two days," recalls Pinhas. "It was such an event for a 23-year old; he was to me one of the last real prophets. We talked about Jung, we talked about a lot of things. Maybe this encounter gave birth to all of Heldon Third." So the sci-fi master spawned a dark audio creation to rival his own work. Like the Heldon albums that precede it, It's Always Rock And Roll is undoubtedly Pinhas' baby. But its depth-probing sounds earned it a godfather, too. 2018 remaster by Willem Makkee.
CAT #: BB 392LPFAUST Punkt LP
Repressed; LP version. After the overwhelming success of the 1971-1974 box set release (BB 374CD/LP), containing the first four studio albums and for the first time ever this lost "last" album recording, Punkt gets a deserved and necessary standalone release."The band called it 5½, fans referred to it as the 'Munich album' and for almost fifty years it's been the missing chapter in Faustian mythology. Now for the first time, the German iconoclasts' previously unreleased fifth album sees the light of day as Punkt . . . Punkt is Faust at their most unhindered, untethered and unstoppable. Returning to Germany after a loss-making U.K. tour and after their manager Uwe Nettelbeck had split with them, the group dusted themselves down and planned their next project, what would have been their second for Richard Branson's Virgin. Joined as always by their engineering genius Kurt Graupner, the band took residence in the Arabella High Rise Building, the luxury hotel which housed Giorgio Moroder's Musicland Studio in its basement . . . Faust spent their nights below ground, creating the sublime cacophony which courses through these seven tracks. Driven by Diermaier's primitive repetition and Péron's rabid low-end growl, 'Morning Land' stomps its way through almost ten minutes of heavy psychedelia . . . A Luciferian spirit courses through the beatless 'Crapolino', a tumult of scorched guitar chords, strident FXs and disembodied vocals which bares all the hallmarks of a black mass. And just like that, the group summon some demonic hunting party for 'Knochentanz' (bone dance), arguably their most immersive creation . . . The storm clears for a second to allow a celestial chord progression to emerge from the darkness before the heavens open and Sosna's snarling, sawing guitar rains down from above, carrying 'Knochentanz' through its final iteration, a collision of muscular fretwork, percussion freakout and bleeping organ which completes the most psychedelic recording you've never heard. The frazzled optimism of 'Fernlicht' buzzes away like an acid Beethoven bathed in neons, before the breathless 'Juggernaut' stretches the definition of blues rock to its limit as squirming sine waves, clattering cymbals and corrosive guitars pan, reverse and overlap, each following its own unhinged rhythm. Then for a time the sound and the fury abate, making space for the frankly sublime 'Schön Rund', a piano-led diversion into the soul-swelling realms of ECM jazz and fin de siècle impressionism, which rivals anything else in their catalogue for pure beauty. And in case you thought they'd gone soft, Faust sign off with the guttural groans and course drones of 'Prends Ton Temps'..." --Patrick Ryder
CAT #: BB 420CDDIE WELTTRAUMFORSCHER Liederbuch CD
When the Welttraumforscher (world dream explorer) started their journey on July 14, 1981, it was not foreseeable that it would last so long. For over 40 years now, Christian Pfluger from Zurich has been working with drawings, texts and songs on the idiosyncratic and fascinating universe of the imaginary trio. This has resulted in numerous cassettes, LP and CD releases. Most recently, a two-part retrospective was released in the spring of 2021 on Hamburg's Bureau B (BB 353CD/LP and BB 354CD/LP), giving an insight into the wonderfully rapturous dream world of the project, which despite the continuous work remains something of an insider tip to this day. With their new collection Liederbuch, the Welttraumforscher are going on tour for the first time in many years. When the Welttraumforscher open their songbook, they are met, as in a pop-up book, by the fictional friends they have invented and sung to on their journey through 40 years: the captain to the soul Kip Eulenmeister (the owl master) and the crop circle researcher (iguana) Leguan Rätselmann, the insect twins Brtz and Brxl, the space travelers Lia and Mira from the Nordkristall (northern crystal), Ohm Olunde from the silent forests and the incredible dark pilots. In their distant worldroom, the two insect beings Brtz and Brxl open up the Welttraumforscher songbook. They find the songs, from A to O, sung by the Forscher on their albums dating back to the faraway year of 1981 -- on cassettes, vinyls, CDs and through digital communications kaleidoscopes. It's Sunday and, with plenty of downtime on their hands, Brtz and Brxl listen to all the songs; the one about the yellow wight in the moors, the one about Kip Eulenmeister, the Captain of Souls, one about Leguan Rätselmann, pursuing every riddle, and one about the dark things which sometimes happen around midnight. We want one too, say say Brtz and Brxl, a songbook of our own, all the songs we like to listen to the most, collected in one album. By now it is late on Sunday evening and the moon shines above them like a colorful paper lantern. The two insect beings ponder: what shall we call our songbook? The very name we gave it, songbook. So here it is and this is what it sounds like -- Brtz and Brxl wish you happy listening. As do the Welttraumforscher, whose quiet body of work turned out so well. So, without further ado: welcome! Welcome to the Welttraumforscher songbook!
BURNING SOUNDS (UK)
CAT #: BSR 848LPVA All You Need Is Love: The Beatles Reggae Songs LP
"As Beatlemania approached its peak, Jamaican music was undergoing a transition that started with ska, and then morphed into rocksteady, before assuming its ultimate form as reggae. Inevitably these cultures collided, with artists such as the Paragons and Marcia Griffiths establishing a tradition of creating dynamic reggae covers of the Beatles' hits that continues to this day. This album extends this lineage, as some of the best reggae artists set out on a series of version excursions that include some of the Fab Four's best loved bitter-sweet cuts."
CAT #: BSR 850LPTHOMPSON AND THE ROYAL RASSES, PRINCE LINCOLN Natural Wild LP
"Original 1980 album now released on 180 gram green vinyl. Includes full color insert with extensive sleeve notes. Bass - Bagga, Val Douglas; Drums - Leroy 'Horsey' Wallace, Mikey Booth; Guitar - Diggles, George Miller, Lincoln Thompson; Horns - Headley Bennett, Bobby Ellis, Bubbler, Tommy McCook; Keyboards - Cecil Lloyd, Wire Lindo, Geoffrey Chung, Pablo Black; Lead Guitar - Ernest Ranglin; Percussion - Brother Jomo, Stick."
CAT #: BSR 851LPPRINCE LINCOLN & THE ROYAL RASSES Experience LP
"1979 reggae album pressed on yellow vinyl."
CAT #: BSR 871LPJOHNSON, ANTHONY Reggae Feelings LP
"Born in Kingston, Jamaica December 25th, 1957 Roy Anthony Johnson grew up in the notorious Trench Town ghetto where, inspired by local vocalists, Dennis Brown, Alton Ellis and John Holt, he made his debut recording Free Black Man for Bunny 'Striker' Lee which remained unreleased. He went on to record with Jo Jo Hookim at Channel One before becoming a member of the Mystic I vocal trio alongside Les Clarke and Balvin Fials, who released the Mysterious album, produced by Linval Thompson, on Burning Sounds Reggae Feelings is a reminder of the continuing relevance of the dancehall style. Rough, raw and rugged they represent the real authentic sound of young Jamaica from over thirty years ago when the youths 'forgot their troubles and danced'."
CAT #: BSR 872LPHEPTONES, THE In A Dancehall Style LP
"Long out of print Heptones album from 1983 available again on vinyl. The Heptones are a Jamaican rocksteady and reggae vocal trio. They were a significant force in that played a major role in the gradual transition between ska and rocksteady into reggae with their three-part harmonies."
CAT #: CF 147CDOSEES A Foul Form CD
"Brain stem cracking scum-punk recorded tersely in the basement of my home. After a notoriously frustrating eon, the knee-jerk song path was aggressive and hooky. This is an homage to the punk bands we grew up on -- the weirdos and art freaks that piqued our interests and pointed us on the trail head to here / now. Bad times make for strong music is something I agree with. I would say that is evident by the past few years of output from the underground. Transmissions have been all over the map: scanning...searching...
CAT #: CF 147LPOSEES A Foul Form LP
LP version. "Brain stem cracking scum-punk recorded tersely in the basement of my home. After a notoriously frustrating eon, the knee-jerk song path was aggressive and hooky. This is an homage to the punk bands we grew up on -- the weirdos and art freaks that piqued our interests and pointed us on the trail head to here / now. Bad times make for strong music is something I agree with. I would say that is evident by the past few years of output from the underground. Transmissions have been all over the map: scanning...searching...
CIRCUS COMPANY (FRANCE)
CAT #: CCS 121EPREAD, GERRY Lean on Something 12"
North London-by-way-of-Suffolk soundsmith Gerry Read delivers his first release for Circus Company with the Lean on Something EP. After countless examples of his bold production moves on many of our brother and sister labels including Herbert's Accidental Jr to more recently on Koze's Pampa Records, Read has always displayed a kindred spirit mindset to ours in his adventurous musical angles, and we are very happy to present this particular set of rock-solid and uniquely diverse pieces. The title track "Lean on Something" starts things off in fine and classic Read form, with knocking found-sound percussion, fizzing textures and slick use of chopped and disorienting vocal sample bits, as the track layers unfold into a whimsical and wondrous melodic stargazing anthem. "Wooer at the Well" then follows and picks up the tempo with those fly live acoustic drum lines that gives Gerry's tracks that special beyond-electronic feeling, while once again the deft layering of such a rich sound palette builds and builds giving other mavericks like Four Tet a sincere run for their money. The mood then brilliantly shifts on the next track "Paramol", where Read treats us to an almost Robotnik-era Italo sprinkling amidst his otherwise forward-thinking club floor-filling tendencies, with an amazing array of synth sections and an arrangement that should satisfy even the neo-purists out there amongst us. Finally, "Risotto" wraps up the proceedings with a warm, jazzy bouncer reminiscent of both Read's as well as the Circus Company catalog's charming early offerings, and a kind of landing-at-home-base sensation with smoky cubist funk feelings and an equal parts rough-yet-undeniably cool effervescent groove.
CLIVAGE MUSIC (FRANCE)
CAT #: CLV 007CDPOLTERGEIST Kampfer CD
Poltergeist has that strange power of attraction that these personalities with their icy, mysterious aura hold. As soon as Ari Girard (aka Poltergeist) appears, something happens, he catches the light and strikes the spirits. Kämpfer is a ghost story where Poltergeist invites Joy Division, New Order, Talking Heads, The Cure, Can, Kraftwerk, Nine Inch Nails, or Jeff Mills for its first album. At the Poltergeist banquet, the crows of cold wave and the barbarians of krautrock, the metallers of indus rock and the freaks of techno meet. The epicenter is Berlin, the Wall, Lou Reed's Gotham, the Bowie/Eno trilogy and the toxic nights of underground clubs... Kämpfer, Poltergeist's first album, reveals its dark and disturbing universe. Marked by a heavy, deep and majestic atmosphere, this project evokes, without ever saying it openly, the climatic urgency, the ineluctable destiny, the human obsession to be first, to leave a trace of its passage and the nightmares which agitate the nocturnal spirits. Between frenetic synths, bewitching waves and marked foot, this implacable album marks the beginning of the Poltergeist era. Scratching synths, a dark and heavy universe: we can understand Vitalic's crush, who decided to sign the project at the first listening on his label Clivage Music. Poster included.
CAT #: CLV 007LPPOLTERGEIST Kampfer LP
LP version. Poltergeist has that strange power of attraction that these personalities with their icy, mysterious aura hold. As soon as Ari Girard (aka Poltergeist) appears, something happens, he catches the light and strikes the spirits. Kämpfer is a ghost story where Poltergeist invites Joy Division, New Order, Talking Heads, The Cure, Can, Kraftwerk, Nine Inch Nails, or Jeff Mills for its first album. At the Poltergeist banquet, the crows of cold wave and the barbarians of krautrock, the metallers of indus rock and the freaks of techno meet. The epicenter is Berlin, the Wall, Lou Reed's Gotham, the Bowie/Eno trilogy and the toxic nights of underground clubs... Kämpfer, Poltergeist's first album, reveals its dark and disturbing universe. Marked by a heavy, deep and majestic atmosphere, this project evokes, without ever saying it openly, the climatic urgency, the ineluctable destiny, the human obsession to be first, to leave a trace of its passage and the nightmares which agitate the nocturnal spirits. Between frenetic synths, bewitching waves and marked foot, this implacable album marks the beginning of the Poltergeist era. Scratching synths, a dark and heavy universe: we can understand Vitalic's crush, who decided to sign the project at the first listening on his label Clivage Music. Poster included.
CAT #: COR 051LPVA Cocoon Compilation T 6x12" BOX
Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Veteran techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape "Level Steps". Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on "Moody Fuse". Denis Horvat then slows things down on "Monomono", with post-rave abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on "Your Future Looks Different In The Light", before Jeroen Search's aptly titled "Subversive Elements" lead you deeper and deeper, into the matrix. Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on "Kanai". Revisiting the huge, ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled "500 People 500 Hearts 1 Love", expertly complimenting the classic ambience with some slick 909 snare and cymbal interplay. The melodic pull of "Vision99" then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar's "CCC" that somehow manages to offer an entirely new perspective. "The Art of Electronics" is, as the title suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking you into the closing straight with a nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on "Surface Control". DeFeKT then draws this great adventure to a close with the deliciously dark robo-disco overtones of "Terraform" creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords. Includes download.
CORBETT VS. DEMPSEY
CAT #: CVSD 092CDGRAWE QUINTET, GEORG New Movements CD
German pianist Georg Gräwe, one of the most impeccable and imaginative improvisers in contemporary free music, made his debut recording, New Movements, in 1976, under the auspices of Free Music Production, the legendary Berlin-based organization run by Jost Gebers. At FMP's Jazz Now festival, in April of that year, Gräwe presented his working band, a classic hard-bop configuration with trumpet, saxophone, and rhythm section. Indeed, some vestiges of that hard-bop feel permeate the music, however it's been fractured and expanded in its ambitions to include post-bop, freebop, free jazz, and free improvisation, all with an overall set of structures that betray Gräwe's deep interest in contemporary classical forms. It is an audacious debut, one of the most thrilling jazz-related European outings to emerge from the FMP program. Tenor and soprano saxophonist Harald Dau is spectacular, reminiscent in places of the great Gerd Dudek's work with Manfred Schoof Sextett -- tough as nails, free within a blues-oriented context, totally inventive. He's matched by lithe trumpeter Horst Grabosch, and Gräwe's rhythm team is impeccable, with Hans Schneider's bass and Achim Kramer's drums. The album kicks off with a 22-minute-long rollercoaster ride written by Gräwe, and continues with two more long tracks by Dau, all of them featuring thrilling interplay and brilliant tunes. First reissue since it was first available in the mid-1970s. Licensing directly from FMP, with newly remastered music direct from the original tapes, CvsD put this important piece of free music history back into circulation, throwing light on the early years of Georg Gräwe's music and expanding the picture of what FMP's vanguard mission meant. Edition of 500.
CAT #: CVSD 093CDGRAWE QUINTET, GEORG Pink Pong CD
German pianist Georg Gräwe, one of the most impeccable and imaginative improvisers in contemporary free music, made his debut recording, New Movements, in 1976, under the auspices of Free Music Production, the legendary Berlin-based organization run by Jost Gebers. At FMP's Jazz Now festival, in April of that year, Gräwe presented his working band, a classic hard-bop configuration with trumpet, saxophone, and rhythm section. Indeed, some vestiges of that hard-bop feel permeate the music, however it's been fractured and expanded in its ambitions to include post-bop, freebop, free jazz, and free improvisation, all with an overall set of structures that betray Gräwe's deep interest in contemporary classical forms. The band featured tenor and soprano saxophonist Harald Dau, matched by lithe trumpeter Horst Grabosch, and Gräwe's rhythm team is impeccable, with Hans Schneider's bass and Achim Kramer's drums. The same band hit the stage a year and a half later, again for FMP, recording Pink Pong. Even more adventurous and tightly wired, this version of Gräwe's fivesome plays more concise compositions, a total of eleven of them, spread out almost evenly amongst band members. The resulting album is one of FMP's absolute classics, simultaneously a nod at precursors like Alexander von Schlippenbach's early groups and Manfred Schoof's killer mid-sized ensembles, but also indicating a new path for a younger set of players. Steeped in a love of folks like Lennie Tristano and Steve Lacy, the band's points of reference were diverse enough to make them stand out against some of the more exclusively hard-blowing Germans of the era. First reissue since it was first available in the mid-1970s. Licensing directly from FMP, with newly remastered music direct from the original tapes, CvsD put this important piece of free music history back into circulation, throwing light on the early years of Georg Gräwe's music and expanding the picture of what FMP's vanguard mission meant. Edition of 500.
CAT #: CVSD 094CDREICHEL, HANS Bonobo Beach CD
Subtitled some more guitar solos, Bonobo Beach was German guitarist and instrument inventor Hans Reichel's fourth and final record of solo guitar works. After this record, Reichel would turn much of his attention to the bowed wooden-tongued instrument he created called the daxophone. Reichel recorded the six tracks at his home in Wuppertal in April, 1981, and in the process made what might be his masterpiece. These are not just some more guitar solos. Concentrating largely on acoustic guitar with no frets as well as his electric pick-behind-the-bridge guitar, he transforms tones into crystalline formations -- patience with resonances, attention to silence, formation of symmetries around a common sonic point, jetting notes that arc and spread and then hover. One might look for other references to describe what Reichel is up to -- the magic of Terje Rypdal, the aura of early William Ackerman, the eccentric multiple pickups of Fred Frith -- but really this is unique in guitar repertoire. Reichel built his instruments as tools for improvised exploration, and then he dove deep into them, never so far as on tracks like "Could Be Nice" or the quivering "Southern Monologue," or the two brilliant versions of the title track, "Bonobo Beach." On "Two Small Pieces Announced by a Cigar-Box," the titular box is bowed in a vocal manner that portends Reichel's development of the daxophone. This CD reissue, licensed directly from FMP, restores Reichel's original artwork and design for the LP, as well as an amusing insert tracking the development of his guitars from 1972-1981. A beautiful, essential document from one of the great outsider guitarists of all time. Edition of 500.
CAT #: CVSD 095CDLACY & EVAN PARKER, STEVE Chirps CD
What could possibly happen when two ultimate masters of soprano saxophone square off for their only recording of duets? Chirps is the only place to find out. Steve Lacy -- the one who planted the flag for soprano saxophone in the ground of modern jazz, who established its iconic status, who devoted himself to the axe with monkish devotion, who brought shakuhachi breath and stairstep melody into its upper-register antics. Evan Parker -- arguably the one who pushed the instrument the furthest post-Coltrane, the technical marvel, the polyphonist, the one willing to immerse in the instrument's harshest environs and find things of radiant beauty. Performed in Berlin at the Haus am Waldsee in July, 1985, it was every bit the chamber concert -- super intimate and interactive, gorgeously recorded by FMP's Jost Gebers in an ideal acoustic room. Rather than alternate between one and the other, Lacy and Parker explore middle-terrain the whole time, perhaps skewing a tad more Lacy's funky-tuneful direction, becoming a single soprano entity made of fragments of sound sometimes accreting into perfectly imperfect lines. Two long tracks, "Full Scale" and "Relations," are completed by a final four-minute coda aptly titled "Twittering." Indeed, the whole program has the joyous interactivity of Paul Klee's painting "Twittering Machine," birds aligned on a line, proposing and picking up lines, nothing cruel or mean-spirited, free play all a graceful twitter. This CD reissue restores the original Tomas Schmit design from the initial release on SAJ Records. Licensed directly from FMP. Edition of 500.
COULDN'T CARE MORE (GERMANY)
CAT #: NT 013EPSTAREAWAY No Life In This Ghost Town - The Remixes II 12"
Back in 2011, Markus Guentner and Heiko Badje formed Stareaway to follow their vision of creating both enchanting and haunting music from melodies and drones. Combining Guentner's complex wall of electronic sound and Badje's ethereal androgyn voice and multi-faceted guitar play, they indeed produced some epic works between ambient, pop, and shoegaze, strangely shimmering and profoundly mysterious. Now, Stareaway's fantastic (and back then maybe a little overlooked) album No Life In This Ghost Town (NT 001LP, 2013) sees its rerelease and is, for celebrational purposes, accompanied by this EP of four stunning remixes by stunning artists Rafael Anton Irisarri (who also did the mastering), Simon Scott (Slowdive), Thomas Fehlmann, and David Westlake (ex-Sneaker Pimps). Rafael Anton Irisarri's magical take on "O Suomi" sparkles bright, still with melancholia always present. David Westlake emphasizes the pop aspect of "Appointments", adding lush synth melodies and light-filled grooves while Thomas Fehlmann lets "All Over You" spiral into pop ambients most majestic heights. Finally, Simon Scott builds a "Kathedrale aus Klang" on "Dreams May Never". Amazing remixes of amazing originals.
DEAR BOSS (ITALY)
CAT #: JACK 001LPCRAMPS, THE Allez Vai Marseille - Live At Le Flipper, Marseille, Fr. 3 June 1981 LP
Cramps, live at Le Flipper, Marseille, June 3, 1981.
CAT #: JACK 007CV-LPCURE, THE From A Land Down Under: Live in Sydney 1981-08-17 - FM Broadcast (Color Vinyl) LP
The Cure, live in Sydney on August 17, 1981. FM broadcast. Color vinyl.
DESTINATION MOON (ITALY)
CAT #: DEST 015LPSPRINGFIELD, DUSTY Faraway Places: Her Early Years with The Springfields 1962-1963 LP
Extract from the extensive liner notes included by David Katz: "...This compilation gathers some of Dusty Springfield's greatest hits, along with lesser-known, but equally important numbers, ranging from their version of the Zulu classic 'Wimoweh Mambo,' the Israeli settler song 'Tzena, Tzena, Tzena' (previously a hit for The Weavers), their take of the hobo anthem 'Greenback Dollar' (a hit for The Kingston Trio), and the tale of a thief inspired by romance, 'Allentown Jail,' which had been a hit for Jo Stafford a decade before. This is the sound of Dusty Springfield in a folk group setting, on the cusp of greater success." White vinyl.
CAT #: DROID 722EPIDJUT BOYS Speedball 12"
The overexcited young men at the Droid factory up the beats per minute and channel the spirit of other sensible chaps a la John Belushi, River Phoenix, and John "I chose the best exit" Entwhistle on Idjut Boys' latest audio laboratory assault. Less terminal, with careful use, perhaps, than a fat fully loaded speedball, they hope man and beast find some musical justice or bemusement in the latest hoedown on offer. Idjut Boys have various takes at various tempos, so bar mitzvah's, weddings and indeed acid house events should be covered for those game enough to get on the Droid bucking bronco.
ED BANGER RECORDS (FRANCE)
CAT #: ED 131EPROUSSEL, THOMAS Late Metal 12"
"I met Thomas Roussel in 2017 at a Pigalle fashion show in Paris. As always with Stéphane Ashpool, the designer of Pigalle, casting is perfect and the clothes are modern and groundbreaking. But my eyes and ears were intrigued by this retro-futuristic instrument next to me, the Cristal Baschet. French composer and conductor Thomas Roussel wrote the soundtrack of the show. He added this magnificent instrument in his "not very classical" orchestra, this is what I immediately loved with him. He invited us into his world of classical music with a fresh twist, simplicity and audacity. At the same time, I was scratching my head to find something different to celebrate the 15th anniversary of Ed Banger Records. For a long time, I had this idea of mixing both electronic and classical music together. Exactly like my heroes Metallica did in 1999 with the symphonic orchestra of San Francisco. Thomas Roussel seems the perfect man for this crazy idea. We did Ed Banger 15 together and we became friends. Thomas Roussel grew up in Dijon, spent his days at the conservatory and his nights at L'An-Fer, one of the most respected techno clubs in France. Probably the reason why he ended up working with Jeff Mills, on two projects mixing Jeff's 909 and a classical orchestra. By experimenting new ways of using an orchestra, by creating state-of-the-art scenography and producing more ambitious music he quickly became the man in charge of everything 'classica'. The list of his collaborations is too long and will ruin this little introduction. It could sounds like this: Chanel, Apple, Cartier, Kenzo, Nike, Dior... Performing from Paris to Macau, from Monte Carlo to Dubai and from New York to Beijing!"
CAT #: ENLP 132LPBRANKO OBG LP
Buraka Som Sistema co-founder and Enchufada label-head Branko presents OBG, his third album. The artist's most personal and reflective work to date, it's a letter of love and thanks to the community around him, to Portugal's breathtaking landscapes, and to the syncopated, window-rattling rhythms that emanate from the clubs and car stereos of Portuguese cities. As a musician, DJ, label curator and promoter, few have been as pivotal as Branko (aka João Barbosa) in bringing the sound of underground Portuguese electronic music to a global audience. Since his formative years growing up in the city of Amadora on the fringes of Lisbon, Barbosa dedicated his career to elevating the unique club music hybrids -- mutations of kuduro, kizomba, zouk, baile funk and more -- that were spreading in the communities around him. Branko initially achieved success as part of the collective Buraka Som Sistema, before beginning a career as a solo artist and releasing two LP's, Atlas (ENLP 073LP, 2015) and Nosso (ENLP 102LP, 2019). But Barbosa's creative output is just one side of his work. As a curator Branko launched the Lisbon festival Enchufada Na Zonain 2019 and in 2022 will curate a stage at the first Sonar Lisboa. Through his label, Enchufada, he works tirelessly to raise the profile of up and comers from Lisbon and the global Lusophone (Portuguese-speaking) diaspora. OBG is an album of organic textures and inviting rhythms, created in Branko's signature style, and inspired in part by a series of outdoor DJ-sets performed and streamed from beautiful locations across his native country. Opener "SRA" starts with a beckoning vocal, wasting little time setting the tone with warm piano chords and a low-slung, kizomba-esque beat. On the brooding "ETA", written with Portuguese beatmaker Fumaxa, subtle sliding bass tones underpin a brooding, colorful arrangement. Features Ms Mavy, Fumaxa, Iúri Oliveira, Traz Águá, and Éllàh. For fans of: Buraka Som Sistema, Dengue Dengue Dengue, Sango, Quantic.
CAT #: XBITX 002EPPUESTEL, RICO Obi Thine Xi: The Remixes 12"
Following his late 2021 LP Obi Thine Xi (XBIT 001LP), this extensive remix EP leads the last Rico Puestel album into its final conclusion, serving up substantial interpretations by Tom Wax, BOWMN, and two further monikers from Rico Puestel himself. As if this wasn't enough, the highly anticipated, formerly unnamed and allegedly lost track "OTX" is in on it too. On the A-side, Tom Wax delivers his stronghold and contemporary Techno design of "ID" while Rico Puestel hauls out the big analog guns and "classical" approach as Modern Minimals Sound Research on the remix of "Voluptuous Antics Enter The Hemisphere", reinterpreting his own work from another perspective. Side AA brings you BOWMN with his forceful and psychedelic interpretation of "Modest" before Rico Puestel comes in another time as Tetzlaff and turns in the '80s-inspired earworm remix of "Thine". Last but not least, "OTX" happens to be the concluding track of this record that people have been waiting and asking for since 2020 -- finally delivered!
F.O.A.D. RECORDS (ITALY)
CAT #: FOAD 261LPROYAL & THE SUMMARY LYNCH, ERIEZA The Unconquered (Extended Edition) LP
All female aggro punk attack from Tokyo produced by Atsuo (Boris). Straightforward all girl crude punk starring the eclectic force of Erieza Royal, previously in ??? (Ana Do Rei), Ecodamned, and many other bands. This LP comprises their rabid hardcore punk oriented The Unconquered EP with an unreleased bonus track plus the 2018 tour EP leaning more towards poppy punk rock territories in a Japanese way. Both recordings have never been released on vinyl to date. Quoting Atsuo (Boris) himself: "Many years have passed since I met Erieza Royal & The Summary Lynch. I have helped them with recording, mixing, designing, etc. Erieza is also known as a feminist. This is how a woman and a man were able to create a wonderful work together. I think we could present new possibilities for the future. I hope that their overflowing love and power will reach the world." Recommended to fans of Kyah, The Nurse, Nickey And The Warriors, MNK Project.
CAT #: FAITBACK 001LPJELINEK, JAN Loop-Finding-Jazz-Records 2LP
2022 repress. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000)."Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat
FASTEN MUSIQUE (JAPAN)
CAT #: FASTEN 015EPRINGEISEN, LUC Buchlerheim EP 12"
After two year of silence, Fasten Musique welcomes Luc Ringeisen with two fresh tunes. Buchlerheim EP contains two tracks that can be described as dark minimal and proper dancefloor vibes, keep a steady flow through its low-end bassline and enigmatic synth line. Vinyl only.
FEEDING TUBE RECORDS/CARDINAL FUZZ
CAT #: FTR 675LPOLD MILLION EYE The Air's Chrysalis Chime LP
The Air's Chrysalis Chime is the second LP from Old Million Eye, primarily a solo project of Brian Lucas. This beautifully transcendent and deeply explorational album sees Lucas widening his spectral and woozy palette to include musical contributions from Gayle Brogan (Pefkin/Burd Ellen), Steven R. Smith, Sheila Bosco (Dire Wolves), and Jeff Jefferson (3 Moons/The Lodestones). The album's darker more drifting songs, "Ruby River" and "Tales from Copperopolis" feature the vibrational voice of Georgia Carbone, erstwhile vocalist of Dire Wolves. Lucas and Carbone's eerie vocal duet on the lengthy "Ruby River" is stunningly haunting and unexpected. This mysteriously anomalous album utilizes such elements as tape collage, improv jazz type drumming, clarinet, Brogan's melodica, intertwining basses, piano, treated violin, and Lucas's Scenes from the South Island-like plaintive skeletal guitar playing that is sure to tickle the ear into quiet hysterics, if not downright rearranging the ear to accommodate a new form of hearing. The listener should expect the usually oddly crafted and layered sound combinations as evidenced on previous OME releases. These sonic elements are a vehicle for Lucas's softly placid tenor, but with added dimensions his purely solo work only alludes to. This album isn't "psychedelic" in the sense of spacey, wah-wah riffs: it's far more subtle, detailed, and delicate in terms of its transcendent properties, but the invitation is there to climb into the chrysalis and be transformed.
CAT #: FELLICE 002EPEFFGEE The Basement EP 12"
This is the second release of music from effgee on his own imprint fellice. With support for the first release from the likes of Move D, this next release brings you three house grooves for the summer, featuring some tracks from effgee's archive which will finally see the light of day.
CAT #: FIGURE 009LPPLACID ANGLES Touch The Earth Remixes 2x12"
One year after its original release, the Placid Angles album Touch The Earth (FIGURE 007LP, 2021) is being remixed by an impressive array of artists from the extended Figure family. With John Beltran being a distinct voice within the electronic music scene for over thirty years now, Figure is thrilled to reveal a whole album worth of reinterpretations, including a new work by the original artist himself. Opening up is Marcel Dettmann, who seamlessly has integrated the lush soundscapes of the original album into a beat-driven but equally serene journey. Picking up on the LP's underlying dark garage tropes, Planet Mu headmaster ?-Ziq infuses his rework with even more rolling drums and ethereal vocal chops. The also inherent IDM roots of Touch The Earth have been kept close by Warp-veterans Plaid who deliver a shuffling flurry full of horns, synths, and syncopated rhythms. More straightforward interpretations include Dauwd's dazzling piece of feathery, fast, atmospheric techno; a gorgeous melodic house remix by Baltra and Cassy who turns in a rigid UK stomper. Amidst all the reworks, John Beltran himself makes two appearances across the record. As Placid Angles he adds another heads-down percussive/ambient swirl, which represents exactly what the producer has been hailed for since more than three decades now. His own remix finishes the record on an epic note, with an organic drum track that celebrates life and the necessity for communal gathering in order to dance. Beltran's own additions to this LP are like the essential glue that makes it all bind together, forging the old and the new into something equally exciting as already intimately familiar.
FREUND DER FAMILIE (GERMANY)
CAT #: FDFLP 004LPMAERZ, ACHIM Relief 2x12"
Long-time affiliate of the Freund Der Familie imprint, Achim Maerz returns to the label with his latest album Relief, comprised of nine originals from the Hamburg-based artist. Over the past decade, Achim Maerz has been releasing his twist on dub, downtempo, techno, and leftfield electronica via the likes of Semtek's Don't Be Afraid, Mark Rhein and Benjamin Brunn's Wake Up! Records, Solar Phenomena, and of course Freund Der Familie where he returns here with his latest collection of work. Across the nine-track Relief, Achim Maerz displays the depth of influences in his music, from the cinematic electronica contributions like opener "Gondolier", "Dream", and "Memories" through to more classic deep, dubby techno style cuts like "Black Hole", "Changing Weather", "Open Sky", and "On The Way". Maerz also explores more experimental aesthetics via the intricately syncopated rhythms and dynamic synth work on tracks like title-cut "Relief" and closing composition "Odysee".
GOOD COMPANY RECORDS (AUSTRALIA)
CAT #: GCR 014LPDENTISTRY LP1 LP
Dentistry is the dual energies of Rory Glacken (Tourist Kid) and Jack Burton, Boorloo originals now living in Naarm. The pair have previously released an EP, Ribbons, on their own Deep Water label, and a track on its local showcase comp Greenhouse Vol. I at the end of 2021. This transmission is their debut full length offering, channeled through hometown beacon Good Company Records. LP1 was created in unusual conditions between September and December of 2020, when the duo's shared Northcote studio became a site of remote collaboration. One person would start working on a track and leave the session open for the other, with no overlap of physical space shared. Responding to an invitation from Good Company Records to make a record, the initial impulse was to write dance music. But what dancefloor were these incorporeal partners writing for? The album takes a spectral approach to the dance space, wrapping up air in a strata of textural tech, pulsing dub house, and fractal illbience. Drawing on dub production techniques, LP1 combines the structure of an ambient record with intricate percussive elements. Results are both atmospheric and material, abstract and palpable: a synthesis which expresses sonic relations of surface and depth, with the correlating mirage of light and shadow. At times tinkering methodically and others in mercurial lurch, there is an immediacy to this album that stems from the way it was produced, using a mixing desk and outboard gear to rich and living effect. When you listen, you commune with the artists in the heat of working out of an otherworldly space, and feel every tweak and turn. LP1 is a current which carries the substance of process in communicable form. Intuitive and moving, breathing, dancing. Follows Jack Burton's solo LP on Analogue Attic and Tourist Kid's solo LP on Melody As Truth.
GUERSSEN RECORDS (SPAIN)
CAT #: GUESS 074LPSEVENTH DAWN, THE Sunrise LP
2022 restock, last copies. Spooky and fragile British-sounding folk from the USA, with some progressive and psychedelic hints. Recorded between 1970 and 1976 and privately released in 1976, original copies reach 4 figures. High-quality reissue in 180 gram vinyl, in a nice package with the original artwork and unbeatable remastered sound quality. Also includes a repro of the original sticker, the original insert and a new insert with photos and liners by bandleader Heff Munson.
HEY SUBURBIA (ITALY)
CAT #: SUBURBIA 018LPGENERATORS, THE The Great Divide LP
Reissue for the hard-to-find sixth album by California '90s punk rock OGs, The Generators, originally released on People Like You Records in 2007. Featuring members from Schleprock, The Choice, Street Dogs, Doug And The Slugz. Includes double-sided, full color lyrics insert. Yellow vinyl.
CAT #: SUBURBIA 019LPGENERATORS, THE The Winter Of Discontent LP
Reissue. An absolute masterpiece of modern California punk rock, originally released on the German People Like You label in 2005. Featuring members from Schleprock, Street Dogs, The Choice, Doug And The Slugz. Includes double-sided lyrics insert. Orange vinyl.
CAT #: SUBURBIA 020LPFRANKENSTEIN DRAG QUEENS FROM PLANET 13 The Late, Late, Late Show LP
First ever vinyl reissue for North Carolina horror themed cult punkers Frankenstein Drag Queens From Planet 13's debut album, originally released on Uncle God Damn Records in 1996. Includes double-sided lyrics insert. Red vinyl.
IDEOLOGIC ORGAN (FRANCE)
CAT #: SOMA 044CDROZMANN, AKOS Mass/Massa 7CD BOX
Ákos Rózmann's Mass consists of twelve electroacoustic compositions created between 1989 and 2004 in the composer's studio and at EMS in Stockholm. Like most of Rózmann's compositions, Mass is a long-form work with a duration of around seven hours. Mass is s an enormous fresco of personal observations on the two first parts of the Catholic Mass, Kyrie and Gloria. The intensely subjective perspective on the texts of the Mass is underlined by Rózmann's freezing images -- in his own words -- "tropes", i.e. meditations in Swedish, Hungarian, and Latin over particular words in the mass text or connection to it. A few passages have nothing to do with the mass text: "Organ piece VI" in "Gloria I" (also performed with the subtitle Nocturne in silver and dance) is a sort of lament based on the phrase "Natten gråter" (the night is crying). You find the composer's peculiar sense of humor in the intermezzo following "Gloria I" -- a composed version of the intermission common in Swedish concert houses, complete with clashing coffee cups and empty chatter from the bureaucratic music establishment. The overarching formal structure of Mass is an intricate one, with the various parts functioning simultaneously as independent pieces and as parts of sub-groups within the whole structure of the piece. As independent pieces, some of them go under the name Organ piece. For example, the three pieces included in the first "Gloria" part of mass form another independent composition named "Triptykon", first performed as a separate work in 1996. In the earlier parts of Mass, a battle fought between positive forces is represented by the words in the Mass text and negative forces represented by various challenging sounds, such as scornful laughter, grunts, burps, nauseous choking and vomiting sounds. First, the negative powers drag down the positive forces into a "black hole" or in pockets. Then the positive forces return to dominate the remaining parts of "Gloria". This formal narrative is nuanced by the composer, who, in interviews, offer a less dualistic, more complex viewpoint on the conflict central to the Mass. The most prominent sound sources in the work are the organ, a Hungarian zither and human voices. Throughout the whole piece, there is a vocal group from a village church in Corsica, singing the Latin mass texts solo and chorally. Other participants are Schola Gregoriana Holmiae under the direction of Viveca Servatius, a group of German Benedictine monks and, in the role of a sort of master of ceremonies, Thomas Hammar. Deluxe seven-CD boxset including two booklets and digital download.
CAT #: IF 1074CDO'O Touche CD
O'o release their sublime debut album Touche. O'o singer Victoria Suter met her musical partner Mathieu Daubigné at college in Agen, South West France, when the pair were studying music theory in their teens. Victoria moved to Barcelona in 2010; Mathieu followed six years later. Their debut EP, Spells, appeared in 2018 a beautifully crafted patchwork of vocals and samples that is redolent of the uncanny vocalese of Laurie Anderson. The EP's sense of profound longing for something lost is carried over to Touche, as well as the same heightened sensory awareness of the world around them. What has developed in spades is the creative process. O'o have blossomed organically, augmenting their pop sensibilities. Avant-garde techniques have been brought to heel as the pair create off-kilter pop music that warms the heart and nourishes the brain. The catalyst that enabled this bold pop transformation came with the song "Touche" itself, a saucy chanson at the heart of the album. Suter's wry narrative about a botanical femme fatale is inserted into a lithe and skittish song with reggaeton beats and an inviting, balmy atmosphere. "Touche" reaches into hitherto unexplored areas of pop, while the rest of the album is accessible in the way that James Blake, Radiohead, or Kate Bush are accessible, and it always challenges, in a way that pop isn't supposed to. Suter writes playful, poignant, observational songs that tell stories as well as tell us something about ourselves. Songs like "Dorica Castra" are built upon the voice as an instrument, centrifugal and layered from its core. Complimentary to this method is Daubigné, who brings startling innovation with found sounds, samples, and clever vocal manipulations -- creating unique, otherworldly sonic flourishes. A guitar whirs like a musical spinning top on "Spin", created in Ableton; an Ondes Martenot appears to make a guest appearance on the title track, though it's the ingenuity of the Prophet 8 synthesizer.
CAT #: IF 1074LPO'O Touche LP
LP version. O'o release their sublime debut album Touche. O'o singer Victoria Suter met her musical partner Mathieu Daubigné at college in Agen, South West France, when the pair were studying music theory in their teens. Victoria moved to Barcelona in 2010; Mathieu followed six years later. Their debut EP, Spells, appeared in 2018 a beautifully crafted patchwork of vocals and samples that is redolent of the uncanny vocalese of Laurie Anderson. The EP's sense of profound longing for something lost is carried over to Touche, as well as the same heightened sensory awareness of the world around them. What has developed in spades is the creative process. O'o have blossomed organically, augmenting their pop sensibilities. Avant-garde techniques have been brought to heel as the pair create off-kilter pop music that warms the heart and nourishes the brain. The catalyst that enabled this bold pop transformation came with the song "Touche" itself, a saucy chanson at the heart of the album. Suter's wry narrative about a botanical femme fatale is inserted into a lithe and skittish song with reggaeton beats and an inviting, balmy atmosphere. "Touche" reaches into hitherto unexplored areas of pop, while the rest of the album is accessible in the way that James Blake, Radiohead, or Kate Bush are accessible, and it always challenges, in a way that pop isn't supposed to. Suter writes playful, poignant, observational songs that tell stories as well as tell us something about ourselves. Songs like "Dorica Castra" are built upon the voice as an instrument, centrifugal and layered from its core. Complimentary to this method is Daubigné, who brings startling innovation with found sounds, samples, and clever vocal manipulations -- creating unique, otherworldly sonic flourishes. A guitar whirs like a musical spinning top on "Spin", created in Ableton; an Ondes Martenot appears to make a guest appearance on the title track, though it's the ingenuity of the Prophet 8 synthesizer.
INTERNATIONAL FEEL (URUGUAY)
CAT #: IFEEL 079EPRUF DUG X PRIVATE JOY Don't Give In 12"
Manchester's Balearic synth provocateur Ruf Dug teams up with Private Joy for a sizzling slice of laidback street soul -- if the streets were lined with palm trees, that is. Ruffy admits to not having any recollection of making the beat, which adds to the sundrenched, day-dream quality. Modulated pads evaporate in the heat haze, while a synth saxophone riff dances on the breeze, all setting the scene for a tropically-tinged marimba and a piano solo that respectfully nods to Vladimir Cosma's Sentimental Walk. When Gerd enquired about a possible vocal, Ruffy reached out to Private Joy, who sings like the fate of the track was entwined with her own, and it elevates the track to a whole other soulful level. In true '90s tradition, Ruffy delivers an alternate reggae mix for the flip, putting an off-beat bump to the track, while the instrumental versions shine a light on Ruffy's pitch-perfect production, and provide plenty of ammunition for acapellas of all sorts.
CAT #: KRXN 022LPPOSTMAN Seeds of Light LP
After more than two decades flexing his muscles on the local underground scene and gaining a legendary cult status on his Tenerife home turf, the island's most famous postman, as he's affectionately known by his consorts, Tomás de la Rosa aka Postman breaks radio silence to bulldoze his way through the canyons surrounding his hometown of Santa Cruz into an unknown and unsuspecting world. Keroxen presents Postman's first ever album of original bangers, micro chopped two steppers and rage induced breakbeat anthems. Constructed over the course of global confinement, Seeds of Light marks a return to creative activity from the man who regularly delivers your post (it's not just a random artist name). Postman, aka Tomás de la Rosa, has taken his time, compiling sketches and unfinished songs, rummaging through the deep ends of his hard drive, stitching early production sketches with recent compositions, revising, reediting and rebuilding with a more mature and concise attitude, eventually completing, almost unintentionally, the perfect self-referential retrospective album. Far from being just a compilation album, Tomás managed to create an explosive document, suspended in time, in which styles are intertwined regardless of fashions and fads -- letting go of the "modern" or "up to date" burden -- so common these days in electronic music. It is not an easy album, like many of his previous work it demands extra attention to experience the full crystallization of his complex sound structures. You find ourselves in front of a truly surgically precise work of art whose result comes as a waterproof war machine, refined and incisive, resonating deep with soul and groove. Postman develops his sound palette throughout the album from very basic sound snippets into a concrete dance world of synthetic sounds eventually creating a parallel reality where J. Dilla could be living in Chemnitz instead of Detroit and releasing records for a label called Raster-Throw. Glitch sampladelics! Incursions into grime are also abundant with nods to the ineffable East Man, reunions with his beloved Funkstörung or many other stimulating revisions of lifelong genres and breaks populate this multidimensional sound space, see soul, dancehall, breakbeat, two step and the UK hardcore continuum. Artwork by Catalan visual artist Alba de Corral.
LE TRES JAZZ CLUB (FRANCE)
CAT #: LTJC 012LPBROWN, MARION Le Temps Fou (Musique du film de Marcel Camus) LP
2022 restock. Le Tres Jazz Club present a reissue of Marion Brown's Le Temps Fou (Musique du film de Marcel Camus), originally released in 1969. Marion Brown, who moved to Europe two years earlier than 1969, and records, in the legendary Parisian studio Davout, the soundtrack of the movie by Marcel Camus entitled Le Temps Fou. The movie starred Nino Ferrer was out in 1970 under the title Un été sauvage. Fallen into oblivion, Le Temps Fou was printed in very few copies and is almost impossible to find in its original pressing. Personnel: Marion Brown - alto sax, bells; Gunter Hampel - vibes, bass clarinet, tree bells; Ambrose Jackson - trumpet cow bells, tambour; Barre Phillips - contra basse, castanetes, whistle; Steve McCall - drums, triangle, tambour; Alain Corneau - claves, cow bells.
LES DISQUES BONGO JOE (SWITZERLAND)
CAT #: BJR 12002EPBWA & THE ANGSTROMERS, CHOUK Ayiti Kongo Dub #1 12"
Preceding the release of forthcoming album, Les Disques Bongo Joe pleased to announce two Ayiti Kongo Dub EPs by Chouk Bwa & The Ångströmers. Following on from 2020 acclaimed album Vodou Ale, Chouk Bwa turn up the heat for this exhilarating trip into their bush of ghosts by introducing a new stripped-down line-up to fire up the dancefloor, based exclusively on the drums and rhythms of the Haitian kongo rite and deep electronic dub expansions by their trusted Belgian counterparts The Ångströmers. Compared to the Vodou Alé album, Ayiti Kongo Dub marks a change of direction. By developing the dimension of trance rather than elaborate structures, the music now aims itself at the dancefloor. The kongo style with its Mambo, Anmin, and Kongo Payèt rhythms, played with two drums and based on a pulse that is not subject to a measure, lends itself very well to linear developments, with the constant and heady cue of the fè (literally a piece of iron) hammered out by the solo singer. Developed on the basis of ceremonial pieces, not originally intended for any form of performance, the repertoire includes a significant amount of improvisation characteristic of Kongo drumming. In their production, the Ångströmers have taken to heart to respect this sense of freedom by performing a large part of their interventions in an improvised manner. The beat is almost subliminal at the beginning and gradually made more explicit by electronic intervention. Deep bass, reverbs and delays inspired by Dub: this is music for clubs and sound systems of endless nights.
LIVITY SOUND RECORDINGS (UK)
CAT #: LIVITY 054EPIDO PLUMES Balancing EP 12"
Following a debut appearance on the reverse label in 2020, Bristol-based artist Ido Plumes is back on Livity Sound with four tracks of experimental dance music for soundsystems. Plumes established his sound with pointillist drums and echo chamber atmospherics the first time around, and now he builds on that premise with a more dense and dramatic approach. Plumes' layered tracks follow non-linear narratives, switching lanes and exploring unusual, evocative landscapes while retaining a fundamental physicality. Longer form tracks like "Afloat" cover a lot of ground across their run time, while the likes of "Been Here" revel in audacious plot twists to create strikingly confident and original variations on the UK dance music tradition.
LUV SHACK RECORDS (AUSTRIA)
CAT #: LUV 039EPVA Retroscope 01 12"
The opening track is a remix of Space Echo's "Come Back Home" by none other than Norwegian producer extraordinaire Prins Thomas. His 11-minute revision of the 2014 hit balances countless layers of funky guitar riffs, Moogish leads and meticulously layered disco drums, resulting in an ever-evolving trippy cosmic masterpiece. Hot on the Heels of Prins Thomas' remix, ROTCIV takes Rising Seed's "Train to Kismarton" to Italo town, adopting only the eerie western guitars from the original, whilst building a wonky '80s sound carpet of analogue arpeggios and punchy DMX drums around it. Next up, Luv Shack newcomer Endrik Schroeder takes on "Wake Up" by Neon Amish & Space Echo. His remix blends the synth goodness of the original with powerful disco-house drums, unleashing a hi-energy vibe that's both uplifting and nostalgic, once incorporating the vocals of Tarek Farwati on the original remix and leaving even more room for the synth pads on the dub remix. The Golden Boogie Connection delivers their super lush rework of Space Echo's "Soul Power" with a tight, organic groove, witty extra instruments such as funk guitars, disco strings and beautifully light-footed vocals. With "Ridin' High" perhaps being one of the most classic Luv Shack tracks, Lee Stevens takes on the task of remixing himself as Rising Seed, opting for a laid back dub house style with bonus pan flutes.
MATCHES MUSIC (AUSTRIA)
CAT #: MMV 002LPWHYLE, TOBY Call It A Night LP
What happens when you let go of something you've always been passionate about? Will it come back? And if so, in what ways and with what impact? These questions laid the foundation for Toby Whyle's debut album Call It A Night. It is a journey to find out what feels right to him -- this means escaping old patterns and allowing himself to try new things. Musically, he exposes himself unreservedly to the gravitational forces of electronic music and guitar pop by orbiting these points of attraction without ever really getting caught by either of them. Each song moves along its own trajectory, fueled by Toby's thoughts and experiences. His first single, "No One Moves", hitting number 1 on the FM4 charts in early 2021, marked the beginning of a new adventure -- a journey upon which Toby embarks entirely on his own for the first time. Writing songs has always been quite natural and ever-present in Toby Whyle's life. And he's written plenty of them over the last decade. However, what's new is the realization that songwriting is one of his few means to slow down the bright and fast-paced world surrounding us. Driven by the urge to create and develop something new, he started to write again. And suddenly, this feeling of being able to pause time came out more intense and immediate than ever. In this way, the singer, songwriter, and guitarist manages to stand back from the constant rush, carving out space to move freely at his own pace. "Each song is an empty room, and I can decide for myself how I'm going to furnish it. It might get rather chaotic with stuff piled up to the ceiling, then again there's almost nothing in it," he describes his approach to songwriting. For him, creating melodies, crafting music and lyrics is not just a means of reflecting on situations he finds himself in but also a tool of handling them. Toby's music strives to affect and inspire people in all the different phases in life, as his songs are also a result of the diverse situations he's gone through. Aesthetics and craftsmanship play a crucial role in Toby Whyle's creative process, from crafting songs, recording and producing them, and building and maintaining a particular visual language. He aims to create high-quality and exceptional music that enthuses and delights people, which sparks energy and conveys a certain feeling.
MILLE PLATEAUX (GERMANY)
CAT #: MP 044CSAUTOMATISME Statique Cassette
Statique is the fifth full length album on Mille Plateaux and Force Inc. labels by Automatisme, the Canadian musician and conceptual artist William Jourdain active since 2011. Jourdain met the label owner Achim Szepanski in 2019 and did an album in solo (Alter-, Mille Plateaux, 2020) plus four others in collaborations (with iadema, Beyond Humans, Stefan Paulus, and Viatorism in duo with Pheek). Automatisme now returns as a solo act on that label. The results are, on one side, an expanded vision of fast rhythmic clicks and cuts, like on his "Alter-Rate" tracks and that are entitled "Ultra-Rate" on the Statique album. On the other side, it is the multiple "Ultra-Scape" tracks that are an augmented version of the granulized ambient dub techno he developed since the beginning of the Viatorism moniker. Jourdain adds elements of chaos and perturbation into algorithmic electronic music like static electricity is the presence of a disturbing body in a circuit.
CAT #: MP 045CSDEEPCHILD Fathersong Cassette
Fathersong is Rick Bull's eighth album release under his Deepchild moniker, arriving ten years after the former Berliner's Neukölln Burning album (Thoughtless Music). Exploring a shimmering post-dub vista, rich in granular textures, Fathersong draws influence and inspiration from contemporaries like Fennesz, Tim Hecker, Burial, and Vladislav Delay. Unshackled from the percussive undertow of previous albums, the album's palette nonetheless displays the familiar, sensual pulse of Bull's musical aesthetic.
MORGAN BLUE TOWN (UK)
CAT #: BT 5002P-LPPUSSY Pussy Plays (Pink Vinyl) LP
"180 gram audiophile vinyl edition of this much sought after 1969 Pussy album. This repress is on pink vinyl. A psych classic with a mint original copy fetching around $2000."
MORR MUSIC (GERMANY)
CAT #: ANOST 014LPSEABEAR The Ghost That Carried Us Away LP
2022 repress. Includes download code; edition of 300. Originally released by Morr Music in 2007. This is the debut release by Iceland's Seabear. The Ghost That Carried Us Away flatters in a rather unobtrusive way: fragile hymns of nonchalant casualness, created by Sindri Már Sigfússon. Guitars, piano, his almost bashful and yet present voice -- themes of nature, mortality and love from Iceland's musical heartland, Reykjavik. There's a violinist with her voice in the clouds, Gudbjörg Hlin Gudmundsdóttir (violin, vocals, harmonica) and Orn (guitar, lapsteel). Other members include Eiki, Orvar, Gudni and Dóri: one plays the flugelhorn, the slide-guitar and upright-bass, one belongs to the live line-up of Sigur Rós and another is part of the sensational Múm. Some are stage members of Benni Hemm Hemm's band. Sigfusson invited them into his small studio, placed them in front of the only microphone and let them think about his musical thoughts. He likes the notion and the feeling of lo-fi, and for the recording of the drums, only three microphones were used. The result is reminiscent of the reduced stereo recordings of the 1960s. "Libraries" is tiny and gigantic, unobtrusive and exciting at the same time -- a song like blinking into the most beautiful sunrise. A tumbling piano, swinging drums and melancholy melodies. "Hands Remember" includes murmuring vocals and two violins. In "Summer Bird Diamond," birds twitter to the sounds of an old banjo and glockenspiel. It is almost like a chamber folk radio play. And "Seashell" at last, is a pocket symphony, arranged around jumping drums.
MUSIC ON VINYL (NETHERLANDS)
CAT #: MOV 386LPCALE, J.J. Naturally LP
"J.J. Cale never recorded a full album until Eric Clapton scored a huge hit with Cale's 'After Midnight'. Encouraged by friend and producer Audie Ashworth, J.J. Cale recorded Naturally to capitalize on the success of his song. He released his debut album in 1972, not knowing this would be the beginning of the so-called Tulsa-sound. A lazy, rolling Boogie that contradicted all the commercial styles of boogie, blues, and country-rock that was popular at the time. This new sound became the blueprint for the adult-oriented roots rock of Eric Clapton and Mark Knopfler, among others. Naturally contains a new version of 'After Midnight' recorded by J.J. Cale as well as the hits 'Crazy Mama' and 'Call Me The Breeze', which was later covered by Lynyrd Skynyrd. Over the years J.J. Cale has written several hits for other musicians and recorded more than fifteen albums which makes him one of the most successful -- and lasting -- singer-songwriters of his generation."
CAT #: NP 036LPSKULLFLOWER Ophidian Vibrations LP
"Sound coiled and uncoiling, the (well) spring and trap set and first trilogy concluded with three wordless hymns to the Apep serpent, and the serpent power in general. Skullflower slithers and glides through their third LP for Nashazphone, always revolving like geologic time sufis, conjuring wrinkles and portals in the multiverses stiff unyielding fabric. As Brian Wilson still might sing 'she's givin' me serpent vibrations'." --Matthew Bower and Samantha Davies West Yorks, UK August 2021.Skullflower: Matthew Bower- Aire Delta Slide, Travis Bean Koa, Coiled Crimson Serpens; Samantha Davies: violin, Ibanez Destroyer, Descending Gold Serpens. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 333.
CAT #: NP 037LPSHALABI, SAM Shirk LP
Shirk is the new AOR flavored free improvisation solo album by Sam Shalabi, featuring Eric Chenaux and Nadah El-Shazly, where synth pop and sound poetry fester. Sam Shalabi is an Egyptian-Canadian composer, improviser and guitarist living between Montreal and Cairo. Starting out during the late '70s punk era, his work has evolved into an experimental synthesis of modern Arabic music that incorporates free improvisation, traditional Arabic music, noise, classical, text, and jazz. Other than his numerous solo albums, he is a founding member of Shalabi Effect, a free improvisation quartet that bridges western psychedelic music and Arabic Maqam. He has also released four albums with Land Of Kush, the experimental 30-member orchestra which he directs. He has appeared on over 30 albums and toured Europe, North America, and North Africa. Mastered by Mark Gergis. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
CAT #: NP 038LPLETTERA 22 Exposition of Clove LP
Exposition of Clove is the new fast electro-acoustic album by the duo of Matteo Castro and Riccardo Mazza. Hailing from the farthest North-East glacial tip of Italy, Lettera 22 utilize elements of musique concrete sound sources, delicately sampled, looped and edited; resulting in five very subtle and rich compositions of textured noise and field recordings via analogue tapes and feedback. Recorded and mastered in 2020 by Ricardo Mazza and Matteo Castro. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
CAT #: NP 039LPWAHIDA, CHEBA Jrouli LP
What is fascinating with Rai is that it has never needed media, scenes or official and sponsored festivals in order to exist, progress and reinvent itself. Rai in the 21st century sustained its evolution via social media, the 3G and 4G networks and of course, the democratization of digital recording and electronic music in general. Cheba Wahida comes from that newer, incidentally very feminized, wave of Rai artists in the Oran region. Vice remains a central theme in the lyrics of all these modern day chebbat whose strong voices and charisma are carried by electronic music and arrangements. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
CAT #: NP 040LPAOKI & HARUTAKA MOCHIZUKI, TOMOYUKI Tomoyuki Aoki & Harutaka Mochizuki LP
Reissue of the now long sold-out debut album (2014) by the guitar and saxophone duo of Aoki Tomoyuki (Up-Tight) and Harutaka Mochizuki. Initially limited to 200 CD copies only, this record features nine, reverb drenched, mourning pieces characterized by this duo's specific melancholic language via guitar and alto saxophone. Immediately evoking the Velvet Underground inspired electric and echo filled ballads of Les Rallizes Dénudés, it is also augmented with haunting horn improvisations simultaneously reminiscent of Anthony Braxton and Kaoru Abe. Recorded at A.B.U. Studio, Hamamatsu: 2014. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
CAT #: NP 041LPPANSTARRS Batee2 LP
Nervous + sensitive Egyptian synth wave with Arabic vocals by Panstarrs, solo project of Youssef Abouzeid who has previously appeared under different monikers such as Captain Solo or YZEID. This LP -- equal parts Suicide and Mohamed Mohie -- pushes Youssef's detached and melancholic signature sound along radical and unconventional arrangements further into bolder electronic horizons while pulverizing any notion of established verse chorus song structures. Youssef Abouzeid is a fixture of Cairo's musical underground and has been intensely active for over a decade whether via his countless musical acts -- of which, his personal project, Panstarrs is the most prolific -- or his homemade oscillator-loaded effects pedals "NMR". He is also a co-founder of the downtown Cairo independent art space, Hizz, and its affiliate cassette label. Through the years and incessantly, Youssef has not stopped refining his own idiosyncratic aesthetic and sound while going forward with his DIY activities and tours. Front cover by Hendrik Hegray. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
NECHTO RECORDS (GERMANY)
CAT #: NECH 020EPHOLMAN, LEE NECH020 EP 12"
Nastia presents Lee Holman's latest EP on her rising record label NECHTO. As an artist whose music is firmly rooted in techno, Lee is not shy of mixing the broad range of sounds the genre presents. When taking his machines on an auditory journey, the music producer strongly depends on his inner self and aims to stir a range of feelings through his work. With a focus on the dancefloor in terms of its rhythm, the NECH020 EP released via NECHTO, delves into the theme of the cosmos. The experience one has on the dancefloor is set side by side with a dreamlike voyage through the infinite galaxy. The EP also includes a vocoder -- the first time the artist has used such an element in his music production. In terms of the process, completing the EP took 18 months of hard and diligent work. "I had to dig very deep working on this EP. I made so many tracks throughout the process to arrive at something that worked for the label, Nastia and myself," says Lee. "I worked night and day and in between, while out of the studio, listened back to my day's work over and over, finding the small details and making mental notes on what to target for my next studio session. It was a process."
NOIRE & BLANCHE (FRANCE)
CAT #: NOIRE 007LPGORDON, FELIPE Superimposition 12"
The producer, multi-instrumentalist, DJ and label head from Bogotá, Colombia is nothing short of a phenomenon, effortlessly fusing complex sound combinations from jazz samples to flowing pianos and acid basslines into hugely exciting and unique house records. He delivers his new EP Superimposition, released on French label Noire & Blanche. An eclectic collection of solid deep house club burners ("Ventana Al Tiempo", "Inherently Deep"), acid breakbeats ("Superimposition") and soft afterhours hip-hop downer ("Feeling All Over It"). Gordon's ability to blend complex jazz instrumentation with acid-licked basslines, golden-age house aesthetics and the cultural sounds of South America is unrivalled; creating a distinctive and beautiful EP.
CAT #: NA 5068LPJORGE AND ALMAZ, SEU Seu Jorge And Almaz 2LP
2022 repress. Originally released in 2010. "Listening to this remarkable album for the first time you'll surely be struck first by the deep, soul-piercing voice of that great Brazilian singer, Seu Jorge. Yes: he's a singer first and foremost. Many may know him as an actor for his screen-stealing performances in the likes of Wes Anderson's The Life Aquatic and Fernando Meirelles' City Of God but Seu has known since he was a child that we was destined to sing. He's a Brazilian singer who speaks the truth through samba, to paraphrase a well-known Seu Jorge quote. But this project is about a band: Almaz. Drummer Pupillo and guitarist Lucio Maia from the stalwart Nação Zumbi; bassist and composer Antonio Pinto from the soundstages of movies starring Seu Jorge. They came together naturally to record a song for a Walter Salles film; they enjoyed the experience so much that they recorded an entire album of music that inspired them. Songs famous within the Brazilian diaspora (Tim Maia, Jorge Ben) mesh with classic American (Roy Ayers, Michael Jackson) and European (Kraftwerk, Cane and Abel) soul songs begging for a bit of psychedelic samba. They enlisted producer and fellow Brazileiro Mario C. (Beastie Boys, Jack Johnson) to put the finishing touches on the project. Their album is both warm and dark; psychedelic and yet grounded, uplifting but at times somber. To listen to it is to join them in the studio, where the only bandleader is the music and the only agenda is to follow your heart."
OPTIC NERVE (UK)
CAT #: ON 411EPCHEFS, THE 24 Hours 7"
Part of the Optic Sevens 4.0 Reissue series. Before the term "indie pop" had even been invented, The Chefs had already nailed it. Formed by Carl Evans and Helen McCookerybook, they first appeared on the Vaultage 79 compilation before releasing two singles for the Brighton based Attrix Records. They recorded two sessions for the John Peel Show and one for Richard Skinner briefly changing their name to Skat and then disbanding. Helen went onto success and a major label deal with Helen And The Horns. Yellow vinyl; includes postcard and poster.
CAT #: OPT4 048LPWOLFHOUNDS, THE Bright and Guilty 2LP
Deluxe reissue of their 1989 sophomore album. Completely remastered. In 1989, while the musical world was fe?ting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band -- The Wolfhounds -- was describing the times and the country exactly as they were. Or at least as they saw it. Well, not exactly. Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band's misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realized of which was Bright & Guilty. The band's sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles -- "Happy Shopper". The band's magpie listening habits also saw the first glimmers of an interest in sampling with the track "Cottonmouth", hip-hop in the drum rhythms of "Invisible People" and "Son of Nothing", discordant post-hardcore in non-specific song and even percussive hints of Tom Waits's Rain Dogs in Charterhouse. The album's lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in "Charterhouse", the unfairness of housing policy in "Rent Act" and "Red Tape Red Light", the desperation of not having enough money to even seek employment in "Useless Second Cousin". But there is contemplation and mystery, too: "Ropeswing"'s nostalgia for pre-teen childhood, "Invisible People"'s detailing of intangible weaknesses. Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you'll find echoes of their sound in Fontaines DC, Idles, and many others -- but not performed with the brashness, vigor and uniqueness of the originals. Original LP with bonus disc with all the A and B sides, some compilation tracks and an outtake. Gatefold sleeve; pale blue vinyl; includes 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
PARTIAL RECORDS (UK)
CAT #: PRTL 015LPSOUND IRATION Sound Iration in Dub LP
A classic and highly influential dub set from 1989, regarded by some as the one of the album's that kick-started the UK dub scene revival along with the likes of Jah Shaka and Mad Professor. Produced by Sound Iration (Nick Manasseh and Scruff) and originally released on Youth's Mr Modo label. Eight pieces of bass-heavy dub cuts with melodica, flute and vocals floating in and out of the mix. This is the dub companion album to Tena Stelin's Wicked Invention (PRTL 013LP). Color vinyl; edition of 500.
CAT #: PRTL 12013EPRED, DANNY Be Grateful 12"
UK roots reggae classic from veteran vocalist Danny Red, originally released on the Dredbeat label in 1994. "Be Grateful", mixed by Nick Manasseh is a mid-90s staple deep roots tune. Despite numerous re-recordings, these original mixes are the ones that are in demand. Along with the original cuts, this 12" features three previously unreleased cuts, including three dub versions.
CAT #: PERL 132EPOTTLIX Tamarindo 12"
Far out explorations by Ottber and Felix Hk.
PHARAWAY SOUNDS (SPAIN)
CAT #: PHS 002LPBUNALIM Bunalim LP
2022 restock. Turkish band Bunalim (Turkish for "Depression") is a true legend: They were the absolute wildest and crudest band from the Anatolian rock scene. Under the wing of Cem Karaça, who was their manager and producer, they released a few singles which are all collected here. Fierce Turkish folk-flavored psychedelic fuzz-rock circa 1970-1972. Remastered sound, including an insert with liner notes and pictures.
CAT #: PHS 030LPAKBAYRAM & DOSTLAR, EDIP Nice Yillara Gulum LP
2022 restock; LP version. The third album by Turkish psychedelic singer Edip Akbayram, originally released in 1982, really ramps up the silly synthesizers. Hear whooshy '80s Rolands, vocals run through a harmonizer, and tons of totally tubular bass popping -- it's easy to hear the boundaries of the western intros and breaks. Ever wish Knight Rider's KITT could drive to ?stanbul? Take a ride on cheesy synthesizers with Edip at the wheel! Remastered sound. Includes insert.
CAT #: PLANAM 014LPGOL & CHARLES HAYWARD GOL/Charles Hayward LP
2022 restock. "For this new 'gollaboration' the French combo GOL confronts the British drums legend Charles Hayward for a rough/delicate and intense/mellow paradoxical music delight. The studio side compiles four improvised sessions exploring some possible oblique acceptations of the word 'rock', while the live side recorded at 104, Paris, in Dec 2008 during the Sonic protest festival, takes the encounters into the realm of psychedelia. The apparently chaotic home-made electronics of GOL find a perfect counterpoint in Hayward's 'This Heat-ish' incomparable kickass-snare-cymbals style machinery of straightforward beats meet subtle and continuously reinvented variations. A touch of pop, gamelans from afar, an unexpected song underlined by a frenetic electric organ, make this LP a surprising journey into sonic explorations. GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. On this record GOL play modified synths, modified organ, bass guitar, home-made electronics, SH101 and crackle box. This LP is the third in the 'gollaboration' series after records by GOL with Dumitrescu/Avram and with Charlemagne Palestine. The very minimal sleeve features a four color reversible double front side with sinister photo portraits of Charles Hayward and the GOL members. Black and white inner sleeve with title tracks and liner notes. Edition limited to 350 copies."
CAT #: PLANAM 018LPERIKM & LUC FERRARI Visitation LP
2022 restock. Visitation, created on April 1st, 2011 is a very unique kind of collaboration between two French sonic artists, master Luc Ferrari and eRikm. Here is eRikm's direct testimony about this work: "When the sun set on April 1st, 2011 I heard through the windows of my house the repetitive song of a night bird. Madeleine brought me immediately back to Luc Ferrari¹s electroacoustic piece Presque Rien N° 2. I became curious about comparing the bird that was officiating in the garden of Cap15 (in the North area of Marseille) with the bird of Presque Rien. My curiosity triggered the desire to play Luc's piece in the acoustic space of my house. With my rudimentary recorder I moved inside and outside the house, moving back and forth between both spaces. I played with the depth of field, the beat between these two birds separated by 34 years, and immersed myself in these acoustic events. This Ursprung or temporal Klein bottle was recorded and edited in one single sequence shot." It's very hard to compare anything with one of the all-time masterpieces of modern creation as Luc Ferrari's Presque Rien N° 2, but listening to this piece you immediately get the impression of a perfectly accomplished work, published now on LP on your favorite label. So here is the first-ever LP by eRikm, elegantly released with Presque Rien's iconic mouth picture on the sleeve; dedicated to Brunhild Ferrari and to Natacha Muslera. One-sided release.
PORTRAITS GRM (AUSTRIA)
CAT #: SPGRM 004CDMALONE, KALI Living Torch CD
Following her critically acclaimed album The Sacrificial Code (IDEAL 192CD/LP), Swedish-American composer Kali Malone returns with Living Torch on Portraits GRM. Living Torch, through its unique structural form and harmonic material, is a bold continuation of Kali Malone's demanding and exciting body of work, while opening new perspectives and increasing the emotional potential of the music tenfold. As such, Living Torch is a major new piece by the composer and adds a significant milestone to an already fascinating repertoire. Departing from the pipe organ that Malone's music is most notable for, Living Torch features a complex electroacoustic ensemble. Leafing through recordings from conventional instruments like the trombone and bass clarinet to more experimental machines like the boîte à bourdon, passing through sinewave generators and Éliane Radigue's ARP 2500 synthesizer. Living Torch weaves its own history, its own genealogy, and that of its author. It extends her robust structural approach to a liberated palette of timbre. Living Torch was initially commissioned by GRM for its legendary loudspeaker orchestra, the Acousmonium, and premiered in its complete multichannel form at the Grand Auditorium of Radio France in a concert entirely dedicated to the artist. Composed at GRM studios in Paris between 2020-2021, Living Torch is a work of great intensity, an oeuvre-monde that is singularly placed at the crossroads of instrumental writing and electroacoustic composition. Living Torch proceeds from multiple lineages, including early modern music, American minimalism, and musique concrète. It's a work as much turned towards exploring justly tuned harmony and canonic structures as towards the polyphony of unique timbres, the scaling of dynamic range, and the revelation of sound qualities. GRM (Groupe de Recherches Musicales), the pioneering institution of electroacoustic, acousmatic, and musique concrète, has been a unique laboratory for sonorous research since 1958. Witnessing the extreme vitality of the music championed by GRM, the Portraits GRM record series extends and expands this momentum with Kali Malone's Living Torch. The French label-partner Shelter Press is proud to continue the collaboration with GRM, which Peter Rehberg of Editions MEGO set the foundation for in 2012. Composed and produced by Kali Malone at INA GRM 2020-2021. Trombone and bass clarinet recorded at EMS Elektronmusikstudion 2020. Pre-mastered by Emmanuel Richier at INA GRM. Mastered by Stephan Mathieu at Schwebung Mastering. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Personnel: Mats Äleklint - trombone; Isak Hedtjärn - bass clarinet; Kali Malone - ARP 2500, Modular Synthesis, Pura Data, Boîte à Bourdons.
CAT #: SPGRM 004LPMALONE, KALI Living Torch LP
LP version. Following her critically acclaimed album The Sacrificial Code (IDEAL 192CD/LP), Swedish-American composer Kali Malone returns with Living Torch on Portraits GRM. Living Torch, through its unique structural form and harmonic material, is a bold continuation of Kali Malone's demanding and exciting body of work, while opening new perspectives and increasing the emotional potential of the music tenfold. As such, Living Torch is a major new piece by the composer and adds a significant milestone to an already fascinating repertoire. Departing from the pipe organ that Malone's music is most notable for, Living Torch features a complex electroacoustic ensemble. Leafing through recordings from conventional instruments like the trombone and bass clarinet to more experimental machines like the boîte à bourdon, passing through sinewave generators and Éliane Radigue's ARP 2500 synthesizer. Living Torch weaves its own history, its own genealogy, and that of its author. It extends her robust structural approach to a liberated palette of timbre. Living Torch was initially commissioned by GRM for its legendary loudspeaker orchestra, the Acousmonium, and premiered in its complete multichannel form at the Grand Auditorium of Radio France in a concert entirely dedicated to the artist. Composed at GRM studios in Paris between 2020-2021, Living Torch is a work of great intensity, an oeuvre-monde that is singularly placed at the crossroads of instrumental writing and electroacoustic composition. Living Torch proceeds from multiple lineages, including early modern music, American minimalism, and musique concrète. It's a work as much turned towards exploring justly tuned harmony and canonic structures as towards the polyphony of unique timbres, the scaling of dynamic range, and the revelation of sound qualities. GRM (Groupe de Recherches Musicales), the pioneering institution of electroacoustic, acousmatic, and musique concrète, has been a unique laboratory for sonorous research since 1958. Witnessing the extreme vitality of the music championed by GRM, the Portraits GRM record series extends and expands this momentum with Kali Malone's Living Torch. The French label-partner Shelter Press is proud to continue the collaboration with GRM, which Peter Rehberg of Editions MEGO set the foundation for in 2012. Composed and produced by Kali Malone at INA GRM 2020-2021. Trombone and bass clarinet recorded at EMS Elektronmusikstudion 2020. Pre-mastered by Emmanuel Richier at INA GRM. Mastered by Stephan Mathieu at Schwebung Mastering. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Personnel: Mats Äleklint - trombone; Isak Hedtjärn - bass clarinet; Kali Malone - ARP 2500, Modular Synthesis, Pura Data, Boîte à Bourdons.
CAT #: POTOMAK 820001EINSTURZENDE NEUBAUTEN Haus Der Lüge LP
2022 repress; 2002 release. Gatefold LP version. This is the fifth album by Einstürzende Neubauten, originally released in 1989, now remastered. Highly energetic and possessed of a certain level of danceability, Haus Der Lüge was perhaps the most accessible for the band so far in terms of straightforward industrial-rock, with less grinding experimentation. However, this album is far from any sort of mainstream convention, with some of the most convincing alchemy of the best of the group's sonic clang, combined with some of the most captivating singing by Blixa Bargeld yet. This album showcases all the best aspects of the band's musique concrète experimentation reigned in by impressive song-structure that doesn't diminish any of Einstürzende Neubauten's conceptual or ear-bashing impact.
CAT #: 9781734489736
FILE UNDER: MiscBROWN, DEFORREST Assembling a Black Counter Culture Book
"DeForrest Brown, Jr.'s Assembling a Black Counter Culture presents a comprehensive account of techno with a focus on the history of Black experiences in industrialized labor systems -- repositioning the genre as a unique form of Black musical and cultural production. Brown traces the genealogy and current developments in techno, locating its origins in the 1980s in the historically emblematic city of Detroit and the broader landscape of Black musical forms. Reaching back from the transatlantic slave trade to Emancipation, the Industrial Revolution, and the Great Migration from the rural South to the industrialized North, Brown details an extended history of techno rooted in the transformation of urban centers and the new forms of industrial capitalism that gave rise to the African American working class. Following the groundbreaking work of key early players like The Belleville Three, the multimedia output of Underground Resistance and the mythscience of Drexciya, Brown illuminates the networks of collaboration, production, and circulation of techno from Detroit to other cities around the world. Assembling a Black Counter Culture reframes techno from a Black theoretical perspective distinct from its cultural assimilation within predominantly white, European electronic music contexts and discourse. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the 'techno rebels' of Alvin Toffler's Third Wave, among others, Brown draws parallels between movements in Black electronic music and Afrofuturist, speculative, and Afrodiasporic practices to imagine a world-building sonic fiction and futurity embodied in techno. DeForrest Brown, Jr. is an Alabama-raised rhythm analyst, writer, and representative of the Make Techno Black Again campaign. As Speaker Music, he channels the African American modernist tradition of rhythm and soul music as an intellectual site and sound of generational trauma. On Juneteenth of 2020, he released the album Black Nationalist Sonic Weaponry on Planet Mu. His written work explores the links between the Black experience in industrialized labor systems and Black innovation in electronic music, and has appeared in Artforum, Triple Canopy, NPR, CTM Festival, Mixmag, among many others. He has performed or presented work at Haus der Kulturen der Welt, Berlin; Camden Arts Centre, UK; Unsound Festival, Krakow; Sónar, Barcelona; Issue Project Room, New York; and elsewhere. Assembling a Black Counter Culture is Brown's debut book."
CAT #: QUINTESSE 082EPMILLER, ALTON Essentials Ya Dig EP 12"
Quintessentials announce Detroit legend, Alton Miller. Alton needs no introduction. A classy producer for decades, the label received some essentials for his new EP -- Essentials Ya Dig EP. The main track "Where U R" is a deep, emotional and jazzy clubber, just right for some hot summer club action. The flip side offers again top quality with "Hard To Lose", which is pure Detroit magic and "Give It Up", a track that originally has been released in 2010 and now gets a deep soulful jazzy remix from Boddhi Satva. Essentials ya dig, indeed! And yes, there's fantastic artwork by Giza One too!
R.A.N.D. MUZIK RECORDINGS (GERMANY)
CAT #: RM 12017EPGNORK RM12017 12"
R.A.N.D. Muzik Recordings welcomes Budapest's Gnork to the label with a four-tracker of spaced-out house music.
RADIATION REISSUES (ITALY)
CAT #: RRS 059CV-LPLAST RESORT, THE A Way Of Life: Skinhead Anthems (Splatter Vinyl) LP
Absolutely essential UK OI! classic, originally released in 1982 on the band's own label. 40th anniversary reissue with double-sided lyrics insert included. White/blue splatter vinyl; edition of 500.
RADIO LOOP LOOP (ITALY)
CAT #: RLL 079LPKUTI AND AFRICA 70, FELA ANIKULAPO Live at Berliner Jazztage, November 14, 1978 - German Radio LP
The Berlin concert was Fela's last known concert before the Africa 70 band broke up, a live document you don't want to miss.
CAT #: RLL 082LPVELVET UNDERGROUND, THE Live at End of Cole Avenue in Dallas, Texas 27 October 1969 LP
In March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour. One of these included a stint at the "End Of Cole Avenue" club in Dallas -- one of the Velvets' few live performances where a professional sound engineer was actually on hand to record the sets. Some of the songs recorded over those few nights showed up in 1974 on their 1969: Velvet Underground Live album, but the sound quality was not great due to the use of third or fourth generation tapes. However, the first-generation tapes have since resurfaced, and the difference in sound quality (heard here) is a welcome one.
CAT #: EZRDR 137CDHELL FIRE Reckoning CD
"Sometimes a band grows so exponentially from one record to the next, it's almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and NWOBHM in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart. Reckoning is their Master Of Puppets, their Number Of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning. 'This album is every aspect of our band amplified to its maximum potential,' says singer/guitarist Jake Nunn. 'This is the record we've always wanted to make, and it feels like we're just getting started,' guitarist Tony Campos adds. 'We wanted to push ourselves musically and capture some of our frustrations, anger, loneliness, and rage over being locked inside and dealing with life during a global pandemic in the days when no one really knew how to navigate,' says drummer Mike Smith. With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. 'I set up a little studio in my garage to record guitar, bass, and vocal tracks,' Campos says. 'While Mike bought an electronic drum set and we demoed every song so we were more prepared going into the studio.' Each of them found themselves practicing more on their own and ironing out every last detail and nuance before finally being able to once again play in a room together. The band's heightened professionalism also brings in guest bassist Matt Freeman (of Rancid and Operation Ivy fame) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist Kai Sun joined Hell Fire in Fall 2021."
RUNNING BACK (GERMANY)
CAT #: RB 111EPNAPLES, ANTHONY Swerve EP 12"
Welcome to Anthony Naples's first outing for Running Back. Swerve sees the New York resident putting his dancing shoes back on and taking a pause from his admittedly brilliant other side. A development that 2021's Club Pez on ANS already foreshadowed. While his music is at times ethereal and cerebral, but also engaging and compelling, Naples manages to fill the gap between finesse and function with idiosyncratic abilities. Starting with the title track that builds a bridge between a beehive and Joey Beltram's hoover sound, it's clear that Naples has something unique in case of temperature and tempo. Swerve flows around an addictive bass line, adds a splash of piano and manages to feel big without the usual cheap tricks. Played by Four Tet and Pete Tong. If bangers-not-bangers would be a genre, Naples would have created one of its prime examples. The rest follows lead: "Here With You" uses skippy beats underneath a TB-303, "Right As The Sun Goes" extracts elements of its two predecessors, but mirrors them with delightful mellowness and finally, "Be To" feels like the continuation of the sprawling hypnotism of the mid-nineties. One EP to get your swerve on. High quality artwork by Gasius.
RUNNING BACK SUPER SOUND SINGLES (GERMANY)
CAT #: RBSSS 006EPVA This Is The Sound Of B (Biesmans Remixes) 12"
Berlin-based synthoholic and Watergate resident Biesmans steps up for the sixth installment of Running Back's Super Sound Singles series. Taking inspiration from Confetti's 1988 new beat smash "This Is The Sound Of C", Biesmans revisits his Belgian roots and reimagines three gems from Belgium's rich '80s music scene. Firstly, Biesmans gets to grips with synth pop stalwarts Schmutz and their '80s breakthrough "Love Games", polishing the track up with a motorik disco sheen and chunky bass arpeggios. The remix swaps the new romantic vibe of the original for 8-bit arcade game energy, and calls to mind robotic dance moves and freeze frame video. It's a reboot of a long-lost classic that sounds even better the second time round, and will transport dancers young and old alike onto a timeless dancefloor. Next up for reinterpretation is Luc van Acker and Anna Domino's quirky woodblock and piano-led song "Zanna". Biesmans transforms it from a melancholic anthem to lost love, and into a darkly uplifting discotheque burner, as icy melodies, synth pads and guitar licks create the perfect bed for Anna Domino's plaintive vocals to float on top. As per the other versions, the instrumental dub version follows, and highlights just how Biesmans has built each of these remixes from the ground up, existing as standalone tracks in their own right. Rounding off the 12" Biesmans turns his attention to new wave rock band Scooter and their ode to self-reliance "You", slowing it down slightly to a heavier beat, with hi hat triplets and a touch of Radiophonic Workshop atmosphere. By condensing the original to its essential vocal and synth melodies, Biesmans reconstructs a pumping 130bpm monster, certified to supercharge ravers all through the night. It rounds off a neatly balanced EP that sees Biesmans take the emotional core of influential tracks from his upbringing and put them in a different context, reworking them to share with a whole new generation.
CAT #: SEC 139R-LPFALL, THE The Classical (Red Vinyl) LP
"Compilation of classic tracks from across the Fall's career now available on 180 gram red vinyl."
SHELTER PRESS (FRANCE)
CAT #: SHELTER 140CDATKINSON, FELICIA Image Language CD
"Felicia Atkinson's music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record -- Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy -- the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens -- or is it offers, kindly, even promises? -- to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O'Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life. At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson's acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in 'The Lake is Speaking,' a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos . . . At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On 'Pieces of Sylvia,' a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson's work -- not cinematic in the sense that it sounds like the score for someone else's film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound. Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls 'a fantasy of an orchestra that doesn't exist.' . . . Voice can be a writerly anchor or a wisp of a textural presence. Atkinson's capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings -- not unlike her midi keyboard, able to speak as a vast array of instruments..." --Thea Ballard (2022)
CAT #: SHELTER 140LPATKINSON, FELICIA Image Language 2LP
LP version. "Felicia Atkinson's music always puts the listener somewhere in particular. There are two categories of place that are important to Image Language: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record -- Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy -- the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens -- or is it offers, kindly, even promises? -- to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O'Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life. At times listening to Image Language is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson's acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in 'The Lake is Speaking,' a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos . . . At other times, listening to Image Language is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On 'Pieces of Sylvia,' a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Language is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson's work -- not cinematic in the sense that it sounds like the score for someone else's film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound. Image Language is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls 'a fantasy of an orchestra that doesn't exist.' . . . Voice can be a writerly anchor or a wisp of a textural presence. Atkinson's capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings -- not unlike her midi keyboard, able to speak as a vast array of instruments..." --Thea Ballard (2022)
CAT #: STRIKE 084LPAPPARAT Walls 2LP
2022 restock. Double vinyl version. Walls is the fifth full-length album for Apparat. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming. Important guests and collaborators on this record include Telefon Tel Aviv's Josh Eustis, who did the album's final mixdown in Chicago, as well as the talented Raz Ohara, who contributes his smoky vocals. Apparat has melded his genius as a sound designer with his growing songwriting talents to craft songs brimming with ideas, energy, texture, light, color. They are hummable, embraceable, swimmable, possibly edible.
CAT #: SOF 007EPKINK Hyper Epic 12"
KiNK's first release on Sofia Records this year lives up to its title and its creator's reputation. The relentless energy, love of musical adventure and undamped enthusiasm of a KiNK live set can be found here in all its glory. "Wake Up" is not only an instruction and a hidden compliment to Laurent Garnier, it's also evidence of the Bulgarians uncanny ability to deliver steamrollers with various twists and turns, while hitting the peak effortlessly. "Beep Beep" adds a certain element of mania to the menu. For the lack of a better description, please imagine Mr. Oizo and Steve Poindexter making a record together. Not for the faint at heart. That can be said for the rest of the EP as well. Featuring Redeye, "Room To Jack" is on the same level of "Beep Beep". Traditional topics of Chicago house get a bench test on a speed farm. Dancing to "Scrambler" one would probably need the same room to jack. Swapping the Windy City with British raving fields, KiNK and Raredub deliver a take on the early sound of UK that might miss breakbeats, but manage to re-use all the other ingredients to a hair: fine-tuned and updated. Quotation without modern misinterpretation. Hyper and epic at the same time. And always remember the future!
SONIC CATHEDRAL (UK)
CAT #: SCR 188LPPYE CORNER AUDIO Social Dissonance LP
In the heady days prior to the pandemic, on October 23, 2019, Pye Corner Audio headlined Sonic Cathedral's 15th birthday bash at The Social in London (on a bill that also included bdrmm and Andy Bell). Now, following a limited cassette release in 2020, the incendiary performance -- which mixes improvisations with reworked material from across his career -- has been remastered by Antony Ryan (ISAN) and is to be made available on vinyl for the first time. Wryly titled Social Dissonance, it comes on green and blue swirl vinyl in a striking fluoro green and neon blue sleeve by designer Marc Jones. "This is a recording of a gig in a small space with a big heart," says Pye Corner Audio, aka Martin Jenkins. "A memory of a night before the world changed completely. However, new alliances were formed and friendships made in that basement in Little Portland Street." Indeed, Pye Corner Audio went on to collaborate with Andy Bell on an acclaimed series of remixes and the Ride guitarist returned the favor by playing on some new recordings that will be coming out on Sonic Cathedral later this year. Blue/green swirl vinyl.
CAT #: SPEAKEASY 003LPNELSON, SARAH BETHE Mental Picture LP
"Bay Area singer-songwriter Sarah Bethe Nelson's multiple albums of balladry and pop chart an emotional wave of the multifarious and sometimes tumultuous changes of the area's landscape. Her latest is no exception. Enter Mental Picture, a collection of aftershock spectral tunes ghosting in the aura of the recent age, spinning out from the contradictions of Nelson's steely reserve and melancholy fragility. If past efforts highlighted a certain zeal for the times, Mental Picture, while no less resolute in its approbation of the charms of this particular wasteland, definitely adds the haunt of eyes that have seen a grimness and dared to wink back at it. Think later Townes Van Zandt self-deprecation jolted through the afterglow of Stoned And Dethroned horizon-watching. What began as a way to stay sane in the early days of the pandemic when studios remained shuttered, the album was recorded in Nelson's own Mission District living room with long-time creative partner Rusty Miller, as well as at the home of compatriot Doug Hilsinger -- who both not only play on the album, but also claim co-producing, engineering and mixing roles -- Mental Picture is an incredibly homegrown, early Smog-like affair. The vibes flit between tracks like opener 'Five Lovin' Days' and the later 'Night Birds,' whose bare-bones gated, archaic stripped-down electro-acoustic production prefigures a post-apocalyptic cosmic country akin to Emmylou Harris strumming in a bomb shelter. Fuller tracks like 'Better Off Dead' and ringer 'I Can Just Leave' never shrug off the radioactive buzz, but coalesce into soulful stretches akin to Spiritualized through a ham radio. There's a certain kismet to Nelson's latest album releasing on fledgling San Francisco label Speakeasy Studios SF. Label chief Alicia Vanden Heuvel (Aislers Set, Magic Trick) is part of the very fabric of Nelson's collective -- she even lends her vocals to aforementioned 'Night Birds,' birds of a feather, naturally. The feeling of homecoming here parallels the intimacy of Mental Picture and echoes the burnished survival instincts of the locals still standing and weaving tales together. But don't get this wrong, there's also a universality here that's unchained by any particularities to a certain time and place. Everyone is in the Zone, after all."
CAT #: SP 010LPTURMAN, ROBERT Flux 2LP
2022 repress; black vinyl. Flux is the 1981 debut solo outing of Robert Turman, an American multi-instrumentalist and avant-garde composer. Until recently, Turman was perhaps best known for his contributions to the ballistic NON project with Boyd Rice, as well as other obscured U.S. industrial acts such as Z.O. Voider. In the summer of 1981, Turman decided he would take a drastic turn from the noisy/electronic/industrial work of his compatriots, and began work on what is now the classic Flux cassette. Flux was originally self-released in extremely limited numbers. Weary of the noisescapes of old, he set out to create long-form minimalism utilizing kalimba, piano, "Mini-Pops Jr." drum machine, and tape loops to create a complex bed of interweaving micro-stasis. The results of these new experiments were as beautiful as they were perplexing. A curious, dusty fidelity carries these classic tracks across four sides of vinyl, including all of the original Flux content. These compositions glow with a sprawling, slow-motion haze that's light years ahead of its time. Flux reveals wide spectrums of sound from melancholic kalimba and percussion patterns to slowed-down, syrupy exotica. Turman had complex ideas in his mind, yet only the simple technologies of the day were at hand. Hear the click of the stopping and starting Tascam 3340 open-reel tape machine as one hand presses the "record" and "play" buttons and the other plays piano phrases. While there are similarities in style to classical minimalism, Turman's sound and vision is his own and is exclusive to his limited discography. Released in a limited edition 2xLP set. Lovingly remastered and cut by Rashad Becker at Dubplates & Mastering from the original C-60 cassette master. Original cassette artwork and scans provided by Aaron Dilloway.
CAT #: SP 046LPBELONG October Language LP
2022 repress. October Language is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones. Since its release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Christian Fennesz and Gas, with some claims that it plays like My Bloody Valentine's Loveless (1991) sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that October Language is a unique album which remains unmatched by its contemporaries. Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic. Includes download card with three extra tracks from the impossibly rare Tour EP from the same era (2006). These tracks are exclusive to the vinyl purchase and are not available through digital outlets.
CAT #: SV 048CDCONRAD WITH FAUST, TONY Outside The Dream Syndicate CD
2022 reprint. "Violinist, composer and filmmaker Tony Conrad started his career in New York in the early 1960s. As a member of the Theater of Eternal Music (a.k.a. the Dream Syndicate) alongside John Cale, La Monte Young, Marian Zazeela and Angus MacLise, he participated in now-legendary and often legendarily loud drone performances with many pieces having no beginning and no end. During a fateful trip to Germany in 1972, Conrad met with avant-rock visionaries Faust and made the very first record to bear his name. Outside The Dream Syndicate, originally released in Europe only in 1973, is a stunning debut. Two side-long tracks -- 'The Side Of Man And Womankind' and 'The Side Of The Machine' -- show just how far Conrad had moved beyond his minimalist peers. Werner Diermaier's repetitive drum beat and Jean-Hervé Peron's stripped-down bassline conjure a tense, ascetic groove, while Conrad's seamless violin, initially so controlled, reveals a surprising adaptability. The music shifts almost on a subliminal level, pushing and pulling to the drone's internal pulse. It is hard to imagine Conrad's trajectory from downtown Manhattan to a farmhouse in the German countryside that ultimately resulted in Outside The Dream Syndicate, yet no other record captures -- so completely and instantly -- the intersection of avant-garde and rock forms. Outside The Dream Syndicate remains ahead of and bracingly outside of its time. This first-time vinyl reissue and long out-of-print CD release have been carefully been carefully mastered from the original master tapes and include liner notes by musician Jim O'Rourke and author Branden W. Joseph."
CAT #: SV 162LPBUDD, HAROLD The Pavilion Of Dreams LP
2022 repress. LP version. "For five decades, Harold Budd stood on the forefront of the West Coast avant-garde. Born in Los Angeles, he studied with Schoenberg-pupil Gerald Strang and began teaching at CalArts in 1970. While searching for his own voice, he was influenced as much by abstract expressionist painters as by John Cage and Morton Feldman. In his work, Budd brought delicate, slowing-moving melodies to the foreground -- creating a new musical language based on 'eternally pretty music' and smooth surfaces. In the early '70s, Budd started an extended cycle of compositions that would comprise The Pavilion Of Dreams. For Budd, the album was a signpost for a new direction in thinking about music: 'The Pavilion Of Dreams erased my past. I consider that to be the birth of myself as a serious artist. It was like my Magna Carta.' Produced by Brian Eno in 1978, The Pavilion Of Dreams stands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich's Music For 18 Musicians. Budd's gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, The Pavilion Of Dreams remains a master class in exquisite timbre and shimmering texture. The Pavilion Of Dreams was both the final release on Eno's Obscure imprint and a transition point towards his seminal ambient series. This first-time reissue is recommended for fans of Ryuichi Sakamoto, Jon Hassell and Mark Hollis."
SURVIVAL RESEARCH (AUSTRALIA)
CAT #: SVVRCH 063LPMAIA, TIM Tim Maia (1973) LP
Reissue, originally released in 1973. An icon of Brazilian popular music, Tim Maia was a musical polymath and prolific recording artist best known for introducing American soul to the Brazilian music scene, pioneering the sambalanço style by blending elements of soul, funk, rock, and samba. Maia recorded four self-titled albums for Polydor Brazil, this fourth release from 1973 is arguably the best, with its outstanding hits "Réu Confesso" and "Gostava Tanto de Você"; "Do Your Thing, Behave Yourself" shows how the soul form fitted him perfectly and "O Balanço" full to bursting with Brazilian flavor. A superb set from start to finish, it's a must for all Tim Maia fans.
TAPETE RECORDS (GERMANY)
CAT #: TR 499LPCARAMBOLAGE Eilzustellung-Expres LP
Repressed; LP version. Carambolage never set out to be a "girl band" but they were one of the first German new wave bands whose members were all female. The punk alliance comprising Britta Neander, Elfie-Esther Steitz and Angie Olbrich emerged organically from the environs of Ton Steine Scherben, friends united by a common interest in musical experimentation. Britta's passion for the drums ignited in 1974 in Fresenhagen, North Frisia, where she played percussion for Ton Steine Scherben. R.P.S. Lanrue's little sister Elfie-Esther was an obvious candidate. Angie, a child from the streets who joined the commune in 1972, completed the line-up. Carambolage surfed on their very own "North Frisian Wave" -- an epithet dreamed up for their distinctive sound. Shortly before her death in 2004, Britta was interviewed by music journalist Tine Plesch and described how the "girls gang" gave them the freedom to experiment and come up with "these really funny, filthy lyrics". There is a childish, subversive charm to the songs, emboldened by the realization that "we could fool around as much as we wanted." Their sound was not the only aspect of the group which resulted from experimental tinkering. Keen to have their own space, away from a male-dominated environment, they used cardboard and carpets to build their own practice room inside an old grain silo.On their sophomore album Eilzustellung-Exprès (express delivery), Carambolage's ranks were bolstered by the arrival of Janett Lemmen, who had deputized for the pregnant Angie on a recent tour. The record was produced in Fresenhagen by R.P.S. Lanrue and released on the Scherben label David Volksmund Produktion. Like a whirlwind girl gang on the road, the album revs up with dynamic guitar riffs, indulging their "turned on to the max" sexual desires, before the mood shifts to the deeper realms of life on the Eilzustellung-Exprès: melancholy musings on dismaying love affairs, a song about contradictory feelings experienced in childbirth, culminating in a declaration of love for Angie's new daughter Lisa. The baby was always on board when Carambolage went on tour. The idea of her father Kai Sichtermann (Scherben bass player) taking her on tour would have been too much even for the left-leaning alternative Ton Steine Scherben. Making a mockery of male privilege, Carambolage delivered an album orbiting punk and pop in a classic line-up: Britta on drums, Elfie's snotty vocals and effects-drenched guitar and keyboards, Angie on bass. The trio is augmented by Janett's screeching saxophone on the instrumental track "Maschine" and a squeaky baby sample (Lisa?).
THE BUNKER NEW YORK
CAT #: BK 043LPZEMI17 Gamelatron Bidadari LP
The Gamelatron is many things; one could call it a sculpture, a multimodal installation, an instrument, a robot, a feat of engineering, a vision -- and it is all of these things. More importantly, though, it is a concept sustained by Aaron Taylor Kuffner, aka Zemi17, whose Gamelatrons are "sound producing kinetic sculptures" designed to create an immersive, visceral experience for the listener. Not a small feat, and yet the ambitions of Zemi17 are absolutely realized in this long-standing project, culminating now in his third release for The Bunker NY: Gamelatron Bidadari. The Gamelatron Bidadari is not just a name -- it is one of seventy-plus musical sculptures that Zemi17 has conceptualized, designed, and fabricated. Therefore, it would be inaccurate to think of this release as simply a series of arrangements composed in a finite period of time. Rather, it's a window into a project and a process that is much larger than any single album can encapsulate. Gamelatron Bidardi is the culmination of more than a decade of work, and is central to Zemi17's evolution, not only as a musician but as an artist. Having studied gamelan for many years in Indonesian villages and at the Institut Seni Indonesia in Yogyakarta, Kuffner is a musician, an artist, technologist, and craftsman. The gongs in his sculptures are co-created with master Indonesian artisans. Each Gamelatron composition is site-responsive, meaning its sounds are composed for the acoustics and intentions of the space it inhabits, whether it's an art gallery, a wooded landscape, or the inner temple of Burning Man. The Gamelatron does not stand alone: it is in constant co-creation with its physical environment, and in dialogue with gamelan's long-standing history. Originally exhibited at the Smithsonian Renwick as part of a show entitled, No Spectators: The Art of Burning Man, the Gamelatron Bidadari produces sounds that are delicate yet strong, and deeply hypnotic. Textured chiming creates intricate polyrhythmic patterns that are both complex and simple, or in a word, elegant. On Gamelan Bidadari, Zemi17 refrains from adhering to the strict musical structures; his approach to composition is free flowing. The music conjures up natural wonder, and the four sculptures that make up the Gamelatron Bidadari, in fact, resemble trees. They are four independent, yet connected entities each with a large gong situated at their structural base -- the sonic "roots" of the sculpture -- while smaller gongs branch off of a golden, trunk-like spine. The Gamelatron Bidadari is as physically stunning as it is mesmerizing to the ear.
THE WIRE (UK)
CAT #: WIRE 463
FILE UNDER: MiscWIRE, THE #463 September 2022 MAG
"On the cover... Neu! + 50 Years Of Motorik A special cover feature on the motorik rock originators Neu! to mark half a century since their game-changing debut album. This two-part special includes a new interview with guitarist Michael Rother by Mike Barnes, and a user's guide to motorik rock by Noel Gardner which follows the road leading from Neu! and Kraftwerk through Stereolab to Circle and beyond. Inside the issue... The Mystic Revelation Of Rastafari: Francis Gooding surveys the work of the originators of nyabinghi music and the forefathers of roots reggae, talking to members Sam 'Time' Williams and Calvin 'Bubbles' Cameron about a new edition of their masterwork Grounation; Global Ear: A new generation of musicians including Siriya Ensemble, Damahi Band and Soheil Nafisi are making waves in the jazz rock scene of Tehran inspired by the legendary guitarist Ebrahim Monsefi; Unlimited Editions: Niche German imprint Volke Verlag is specializing in the untold stories of experimental and avant grade music: Epiphanies: Dublab broadcaster Mark 'Frosty' McNeil explains how a life glued to the dial introduced him to radio as a participatory medium; Plus one page interviews with Eddy Kwon, Lenhart Tapes, Imperial Triumphant and more..."
TODH TERI (GERMANY)
CAT #: TODH 010LPTERI, TODH Deep In India Vol. 10 2x12"
Todh Teri is back to make you groove with the tenth and final volume of the Deep In India series. A total double whammy of a record -- this one happens to be a limited-edition double vinyl that includes the best of the Todh Teri's tracks from the previous volumes. As this alluring series comes to an end, get ready to shake a leg to some dark and dubby tunes one last time. It all begins with "Sampadan 34", a tune that makes you want to close your eyes and get lost in a musical trance with its intricate elements of this melody. This is followed by "Sampadan 35", an iconic tune that takes you down memory lane, bringing back sweet memories of the yesteryears. Using a historic sample from the '90s Indian cinescape, Todh Teri has added his touch to create "Sampadan 36" -- a track that you're sure to get hooked onto. For the grand finale, you have "Sampadan 37", which brings in some old-school percussive beats into play that will make your soul come alive. For listeners who missed out, this final EP of the series also includes a second vinyl which has the best-selected tracks from Vol.1-Vol.4. Deep In India has been Todh Teri's heartfelt tribute to the golden age of Indian cinema that has given listeners a fresh perspective on its conventional music. Overall, this record has something for each listener with a magnificently illustrated album cover by Costanza Chandra in association with Masala Movement.
TRIPLE POINT RECORDS
CAT #: TPR 209LPLOWE QUARTET, FRANK Out Loud 2LP
2022 restock; 2014 release. The complete recordings by the hitherto invisible 1974 quartet of Frank Lowe, Joe Bowie, William Parker, and Steve Reid. For what would have been his second album as leader, Frank Lowe captured this cataclysmic quartet in-studio at Survival and in performance at Studio Rivbea. Lowe called it "Logical Extensions". These 1974 tapes went unreleased and are heard only now in this rediscovered and expanded volume. Out Loud gathers the only known recordings of this combustible band, with trumpeter Ahmed Abdullah guesting on one track, and a link to landmark video footage of the quartet live at Rivbea. The second LP was recorded at Studio Rivbea 24 Bond Street, NYC around 1974; Recording engineer -Scott Trusty. The first LP was recorded at Survival Studio, 77 Greene Street, NYC on May 1, 1974; Recording engineer - Rashied Ali. Includes 38-page, full-color brochure: Ed Hazell explains the music's genesis and fits the group into a loft-scene perspective; Photographers Val Wilmer and Omar Kharem pluck choice visuals from the rubble of Watergate-era NYC; J.D. Parran's recollections give you director's-cut insight into Lowe's saxophony; 40-minute sync-sound video offers a revealing peep through the keyhole of 24 Bond Street. Comes in old-school, tip-on gatefold jacket, lavishly designed by the award-winning Svenja Knödler. Edition of 550 (hand-numbered).Personnel: Frank Lowe - tenor saxophone, soprano saxophone, flute, voice, percussion, congas, balafon, whistles, harmonica, miscellaneous small instruments; Joseph Bowie - trombone, congas; William Parker - bass; Steve Reid - drums.
CAT #: TPR 271LPBAKER, DUCK Duck Baker Plays Monk LP
2022 restock. On this LP, recorded at studio sessions in 2010 and 2015, Duck Baker delves deeply into the thinking of one of the most challenging composers, and renders guitar interpretations that are true to the original intent. That Baker's experience playing blues, gospel, ragtime, and swing serve him well on this project goes without saying. Duck Baker Plays Monk contains solo acoustic guitar renditions of nine Thelonious Monk compositions. Baker will remind you through his playing that the idiosyncrasies of Monk's composing are further dimensions of the Americana continuum (and source musics) that has been his turf for years. Especially in Monk's centennial year, many will address Monk's oeuvre: Hundreds will in fact interpret the texts, but very few can inhabit this music in the way that the mature Duck Baker can. Includes new essays by Duck and the late Roswell Rudd. Available exclusively on high-quality vinyl; limited one-time pressing.
TURBO RECORDINGS (CANADA)
CAT #: TURBO 218EPGESLOTEN CIRKEL Detoon 12"
Turbo Recordings wanted their 218th release to be special, so they announce that they've harpooned and skinned one of our white whales, Gesloten Cirkel. Label boss Tiga pursued several leads, most of which went nowhere (the artist's real name is not, as it turns out, "Jesse Circle"), before cornering the elusive Cirkel in Berlin, where he promptly befriended the shit out of him. With killer releases on legendary Dutch electro/acid imprint Murdercapital, Gesloten Cirkel's banger credentials are unimpeachable. For his Turbo debut, he flooded our modest Metaverse offices with over 60 demos. If you guessed that the tracks on Detoon represent all the very best of that material, you just might have what it takes to run a label of your own one day. But you'd also be wrong, because there's a second Turbo EP on the horizon. Never forget: with Turbo, you're always here to learn.
TWO DREAMERS (GERMANY)
CAT #: DIGLP 001LPLOSOUL Belong (20th Anniversary Edition) 2LP
Two Dreamers present a reissue of Losoul's Belong, originally released in 2000. Losoul, whose real name is Peter Kremeier, has been one of the leading figures of legendary '90s and '00s German label Playhouse. He released numerous LPs and EPs during the last three decades, including underground hit "Open Door". He also appeared under the names Silhouette Electronique and Don Disco. Belong, originally released in 2000, gathers nine titles of pure electronic music. From minimalistic house ("Taste Not Waste"), through '90s trip hop ("Sunbeams In The Rain") all the way to more experimental endeavors ("Late Play"). The album also includes the track "Overland" which samples the bassline of "Billie Jean" by Michael Jackson in an eccentric and joyful way. Belong represents the 2000s musical turn, with its delicate, smart, minimal, and emotionally groovy sound. A pioneering, yet soulful layout of independent electronic music.
CAT #: VEYL 028B-LPFILMMAKER Fictional Portrayals (Black Vinyl) LP
Black vinyl. Emerging as one of the most vital producers from South America to Europe, Filmmaker is back on Veyl with the new album, Fictional Portrayals. Recorded in his home country in Envigado, Colombia, the release delivers eight tracks of raw, body pursuits proving yet again that he remains at the forefront of EBM, industrial, wave, and beyond. While always carrying the producer's soundtrack influenced sound, the LP kicks off with the haunting "All About That Pyramid" moving next to the title track's driving energy while then shifting to the more cerebral programming of "Possession" featuring Bad Faith Actor. Things are just picking up with club decimators like "Splitter" and "Immune to Propaganda" while also switching moods with the more sinister "Orphic Eggs" and the mesmerizing "Continuity". Rounding out the release is the cold, emotional ride of "Far From Prospect", leaving you with a sense of dread while simultaneously questioning just what is fact and what is fiction -- something we never quite know in today's multi-dimensional existence.
CAT #: VPGSRL 7093LPVA Greensleeves Reggae Gold LP
"Greensleeves Gold is the ultimate Greensleeves selection. Ten monster hits loaded up with chart number ones. The biggest stars with their biggest hits. Launched in 1977, the iconic London reggae label is celebrating 45 years of being in the business of being the business." Features Reggae Regulars, Dr. Alimantado, Wailing Souls & Ranking Trevor, Augustus Pablo, Barrington Levy, Johnny Osbourne, Michael Prophet, Clint Eastwood & General Saint, Eek-A-Mouse, and Yellowman.
WAH WAH RECORDS (SPAIN)
CAT #: LPS 239LPRADA Upadesa LP
"Ángel Rada is one of the most interesting music experimantalists of Venezuela. He started his career in the late 1960s as a member of The Gas Light, one of the big names on Venezuela's live circuit in the era, sharing the stages with other artists such as Apocalipsis, Un Dos Tres y Fuera, Vytas Brenner, Daniel Grau, Pablo Schneider, Miguel Ángel Fuster... Rada is one of the three basic artists who set an electronic music scene in Venezuela, along with Miguel Ángel Noya and Vinicio Adames. Rada had attended the Escuela Superior de Música José Ángel Lamas and then continued his studies in Germany, where he was impressed by krautrock music, especially by its more electronic side. He met Kraftwerk when they were recording at Kling Klang Studio, and also knew Klaus Schulze -- who would become an example for him to follow. This contact with the Kraut scene would be the biggest influence on his works from the 1970s, which would end synthesizing in Rada's first record: 1983's Upadesa, originally released on his own independent label Uranium Records. Since then he has released more than 20 albums up to date, making him one of the most prolific experimental musicians not only in his country but also in the whole world. Rada's aproach to electronic music is based in what he calls ethnosonic music. He is interested in the mixture of various styles which he filters through the use of technology, so in his electronic compositions one can hear echoes of ethnic sounds from all over the globe as well as some jazz influenced improvisation, ambient and synthesized sounds. The Wah Wah edition is the first ever vinyl reissue of this landmark LP and has been remastered for vinyl by Roger Prades at Prades Mastering. Includes an insert with liner notes by Salvatore Maldera. It is a strictly limited edition of 500 copies only."
CAT #: LPS 240LPMECANICA POPULAR Que Sucede Con El Tiempo? LP
2021 release. "Recorded over the course of four years during late-night, afterhours sessions at RCA's Studio at Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early '70s.The studio as an instrument: pure sound alchemy at work. The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only."
CAT #: LPS 241LPMECANICA POPULAR Baku: 1922 LP
2021 release. "A welcome departure from their first effort, the record has gained greater reconnection in recent years when contemporary audiences could fully appreciate the strength and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like ''Daguerrotipo or 'La Edad del Bronce' (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and features an insert with photos and info. It is a strictly limited edition of 500 copies only."
CAT #: LPS 242LPLECH, IURY Musica Para El Fin De Los Cantos LP
"This is a very serene, almost entrancing record that seems to inhabit its very own space, between 'classical' ambient music (Eno, Budd), 'systems music' (Reich, Glass, Riley, Hassell), Japanese Kankyo Ongaku (Hiroshi Yoshimura, Takashi Kokubo), even hinting at what would become 90's ambient electronica (B12, Nuron, SAWII-era Aphex Twin or the Fax +49-69/40464 label). Actually, Lech would be one of the few artists to perform at the first-ever Sonar Festival (Barcelona) back in 1994 (together with Suso Saiz, Esplendor Geometrico, Mixmaster Morris or Laurent Garnier). A key early effort from this musician and A/V artist whose career spans well over thirty years and a myriad of works, performances and installations: Art Futura, Sonar, ISEA, Ars Electrónica (Austria), Festival Videoformes (France), Festival de Nuevas Músicas (Madrid & Sevilla), Ciclo Experimental LEM (Barcelona), Knitting Factory (New York), The Korner (Taipei), Festival Pop Komm (Cologne-Germany), Festival Experimenta (Madrid), Festival DAFT at Taipei (Taiwan), ART BEIJING, Festival EXIS at Seúl (South Korea), JMAF (Tokio, Japan) or Artefact:Chernobil 33 (Kiev-Ukraine). The Wah Wah edition has been mastered from the original tapes, reproduces the original sleeve artwork and features an insert with photos and info. It is a strictly limited edition of 500 copies only."
CAT #: LPS 243LPBIZARRE KOKOKO 00 Time LP
"Released on Karl Kronfeld's Synoptik Records, it was the label's only release, thus becoming a rare, sought after, private pressing. Weird, intriguing atmospheres and a plethora of synthesized sounds, sequencers, cold sounding keyboards and even mellotron parts make this a darker offering than Aphorisms Insane. Venturing into stark, spooky post-industrial territories it manages to combine the primitive cosmicism of early Tangerine Dream with the dystopic soundscapes of Asmus Tietchens, '80s Conrad Schnitzler or the synthetic gothicisms of Peter Frohmader. An album that should appeal not only to fans of cosmic synthetic music, but also those interested in the more experimental strains of cold wave and minimal synth (Robert Rental, Dome, a.o.) The Wah Wah edition is the first ever reissue of this rare sought after collector's item. 100% analog lacquer cut direct from the original master tape by Moritz illner at Duophonic Gmbh and reproducing the original Dalí-esque sleeve artwork in a strictly limited edition of 500 copies only."
WRWTFWW RECORDS (SWITZERLAND)
CAT #: WRWTFWW 050LP
FILE UNDER: SOUNDTRACKKIRA, TOMOHIKO Evil Dead Trap PIC. DISC
WRWTFWW Records announce the first ever vinyl release for the soundtrack of 1988 Japanese horror cult movie Evil Dead Trap, available as a super limited edition double-sided picture disc LP. What you are about to hear cannot be unheard! At last! The scariest soundtrack ever released on vinyl. Fans of horror movies, rejoice, here is the never-released before Evil Dead Trap original soundtrack by Tomohiko Kira, a gruesome ride of spooky synths and devilish soundscapes, in the pure tradition of '80s terror. It's minimalistic John Carpenter with a Tokyo underground twist, it's basement giallo vibes with buckets of slasher blood, it's Evil Dead Trap, the scariest soundtrack ever released!
CAT #: WRWTFWW 063LPINTERIOR Interior LP
WRWTFWW Records announce the official vinyl reissue of the highly sought-after Haruomi Hosono-produced Interior self-titled debut, originally released in 1982 on legendary label Yen Records. Interior is Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto. Their classic 1982 debut, produced by Yellow Magic Orchestra's Haruomi Hosono, is one of a kind -- a very rare breed of feel-good ambient music blending instrumental synth-pop, soft electronic minimalism, and cozy sound design in the most heartwarming ways. It evokes the intimate pleasures of daydreaming in a hotel lobby, holding hands in a museum, or napping by the pool. It depicts the urban landscape as a caring environment, where simplicity and repetition is mind-soothing and smile-inducing. Interior takes you into an alternate reality, where nostalgic modernism makes the present time feel like the fondest memories. The unique sound of Interior caught the attention of William Ackerman and Anne Robinson who rereleased the album in 1985 on their famed label Windham Hill Records (with a slightly different track listing) and then proceeded to put out their follow-up, Design, in 1987. After that, members of the group continued their careers separately, Daisuke Hinata notably recording an overlooked but absolutely amazing solo album, Tarzanland, in 1988.
CAT #: ZEHRA 006LPGNAWA MUSIC OF MARRAKESH Night Spirit Masters LP
Remastered vinyl reissue of this 1990 Bill Laswell/Richard Horowitz production of local Gnawa musicians, recorded in the Medina of Marrakesh. According to AllMusic it is "a must for fans of both African and Middle Eastern music" and voted one of the "10 essential Gnawa albums" by Songlines. The Gnawa are an ethnic minority in today's Morocco, descendants of slaves from West Africa who were brought to Morocco in the 16th century and who (although they quickly converted to Islam) nevertheless brought with them remnants of their animistic practices. The Gnawa perform a complex ceremony (called lila or derdeba) that over the duration of several hours recreates the genesis of the universe by the evocation of the seven main manifestations of the divine, represented by seven colors. Those ceremonies, led by a master or "maleem", are still taking place today privately while Gnawa music in general has clearly been modernizing and thus become more profane, but witnessing a performance is still an astonishing experience. With the exception of a handful of recordings by Paul Bowles and Philip Schuyler (more ethnographic documents in a field recordings style), Gnawa music was barely heard outside of Morocco before 1990 -- one of the first westerners to come and record the music was Bill Laswell, back then running his Axiom label that portrayed a wide range of ethnic music and musicians like The Master Musicians Of Jajouka or Maleem Mahmoud Ghania, to name just two. Night Spirit Masters, recorded in the Medina of Marrakech, delivers soulful tracks of lead and group singers in call-and-response mode, fired by sentirs, drums, hand clapping, and qrakechs, while others are drum features or sentir/vocal pieces. Over 30 years after its initial release, this essential Gnawa album is finally available again. Gnawa, bottom heavy trance music of North Africa. Repetitive bass lines, generated by the gimbri or sintir with metal clappers, hand drums and voice. Seven trances, seven colors, seven scents, Gnawa not only moves, it can remove. 180 gram vinyl; includes download card.new releases are also viewable at https://www.forcedexposure.
Forced Exposure, 60 Lowell St, Arlington, MA, 02476, United States, www.forcedexposure.com