thanks for looking.
so here we are, post ‘record store day’ and what has been accomplished? i for one was unaware of the ‘holiday’ until the day before, so i was caught by surprise, but i think the readers of my updates and customers of tequila sunrise records aren’t the kinda folk that need a day proclaimed in order to shop for music anymore than they need a holiday to tell their girlfriends, boyfriends, wifes, husbands, sisters, brothers, mothers or fathers that they care about them. granted, folk like us are in the minority these days, but hey, i for one didn’t go down this road of discovery to be like everyone else. and no, i don’t think i’m overstating or be overly romantic (as if that was a bad thing) when i say/think that digging records… along with books and movies and food, ie, culture, are things to cherish and enjoy. and by no means am i some sorta luddite either, and thus ‘anti-download’, i just think so much more enjoyment can be gotten from walking down the street, popping into a shop and picking up a record or cd (yes, tequila sunrise records is very much a fan of the now bastard format. thank you very much). i can’t tell you how many wonderful (and not so wonderful) things i’ve seen, heard and, um, smelled enroute to record shops. i’m a strong advocate of the saying, ‘it’s not the destination, but the journey’, and i do my best to approach life that way and i think all you out there reading this can appreciate that.
so anyhow, check out this weeks new arrivals! as coincidence would have it, there are quite a few cds on this weeks update… two, count em, two comps of African rock and psyche, plus i decided to finally start stocking the amazing series of cd’s on the celestial harmonies label covering the world of Muslim musics. granted they’ve been around for a few years, but as they say, better late than never. also in, a bunch of el records restocks (with a bunch of new titles planned for next week). some great new glam and punk comps (as well as restocks of a couple killer aussie sets) and as always, a ton of new dance 12s. come on by and check em out!
gracias
anthony
as always, many of the titles are in very limited quantity, so if you're interested in anything listed below, feel free to call or email me, I will gladly hold items for up to a week.
prices do not include shipping and handling. for those of you shipping within the continental united states I offer a 5.00usd flat shipping rate for any amount of records and/or compact discs. shipping cost for international orders are calculated on an order by order basis. payments for orders can be made via paypal or with a credit card by telephone between 12-6pm/est.
i also offer bike messanger service via timecycle couriers. for the low cost of 10.00usd i can deliver any amount of records and/or cds you wish to purchase to your center city philadelphia location (this includes some parts of south, west and north philadelphia) within two hours (and for those of you who need your records even faster, we also offer ‘rush’ service for the low flat rate of 20.00usd for any amount of records/cds delivered to you within one hour). of course, we are still more than happy to ship records via the usps within philadelphia. as with the international shipments, orders placed before 5pm/est will ship out that evening and should reach their destination by the following day.
ROCK, POP AND PSYCHEDELIC
J. SPACEMAN/SUN CITY GIRLS- MISTER LONELY: MUSIC FROM A FILM BY HARMONY KORINE OST LP (drag city, usa)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*When Harmony Korine started the production for his film Mister Lonely back in 2006, he asked two of his favorite artists to send him music to accompany the images and scenes he was putting together. They were busy, so fuck 'em, they get no ink here -- but both Jason Spaceman and Sun City Girls were actually his favorites anyway. Some of the sounds these two formidable musicals acts made comprise the all-new soundtrack album, Mister Lonely -- Music From A Film By Harmony Korine. Korine's previous films have found their truths in unblinking realities cross-cut with surreal images, exposing an emotional core that remains elusive after the movie is over -- ennui, delight, disgust, celebration... soft-core snuff porn? Mister Lonely subtly heightens all these effects with a narrative involving celebrity impersonators searching for a place where they just can be themselves and nuns who have discovered a new way to fly. The soundtrack for Mister Lonely is deceptively minimal -- a guitar or piano line that blinks past repetition and blushes into something grander; a motif reappearing under new auspices; link pieces that become spotlight moments, densely worked-out, stars in their own right. Classic soundtrack sounds are modern and nostalgic, which may make the progressive tilt of Mister Lonely 2008's #1 dark-horse chart-topper! Working independently and never collaborating (would you believe in studios right next door to each other? How about in same studio during different hours of the day?), Jason Spaceman and Sun City Girls employ an instrumental approach for the sounds here, with one or two chanted exceptions. Their music conspires in an exquisite corpse-like fashion -- without knowing what the other was doing, they've each brought half a body to the film, supplying the apparitional and austere sounds of a world in which everyone is something they're not, i.e. the people they dream of being.
BRIGITTE BARDOT- AND GOD CREATED WOMAN CD (el, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*shop favorite, restocked… And God Created Woman is the soundtrack to the notorious 1956 film that made Brigitte Bardot the sex symbol of her generation and propelled her to international stardom. It was condemned by the Church and created scandal everywhere. Bardot's then-husband and film director Roger Vadim (Barbarella) was quick to capitalize. It made a fortune and changed the face of cinema. Jane Fonda called it 'the first cinematic blow for women's liberation' and as a landmark in French cinematic culture is considered the film that ushered in the 'New Wave.' The jazzy/mambo score by Paul Misraki (Alphaville) creates the appropriate steamy atmosphere and in the first half of the programme, Brigitte Bardot reads selections from the script in French.
BRIGITTE BARDOT- THE GIRL IN THE BIKINI CD (el, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*shop favorite, restocked… The biggest female name in cinema, Brigitte Bardot is the embodiment of all that is sensuous and exciting about fifties and sixties pop culture. This is the soundtrack to The Girl in the Bikini, Brigitte's second film made in 1952. The original vinyl edition of this album is an almost impossible rarity; amongst the most sought after of all Bardot artifacts. Brigitte Bardot's enormous international reputation is based on her incredible beauty and intelligence and the work she did in film with Roger Vadim and in pop with Serge Gainsbourg. Brigitte Bardot -- the name has generated headlines and cinema queues over five decades. Her very initials are known far and wide and signal instant revolution in films, fashion, lifestyles, sexuality. She is undoubtedly one of the most famous French women of all and there has rarely been any woman from anywhere creating such an impact on her times -- reverberating still in her retirement, as film-makers and actresses, designers and jet-setters, continue to pour through the doors of permissivity she kicked open with elan. Credible with every pop generation. simply a living legend.
ROY BUDD- BLUE BUDD CD (el, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*shop favorite, restocked… Roy Budd is best known for his brilliant score for the Michael Caine gangster movie Get Carter, one of the most popular British films of modern times and one that is regularly shown on television and spoken of both as Caine's best. Roy Budd was a virtuoso pianist often seen on British television in the '60s/early '70s and Blue Budd covers the immediate pre-Get Carter years when Budd was a major figure at the center of the London jazz/mod scene. Like the voices of Scott Walker and Dusty Springfield, Budd's piano is one of the distinctive sounds of the '60s and this album should be classified soundtrack first, then pop/lounge, then jazz. Tony Hatch produced these recordings at a time when he had the Midas touch and was one of the biggest pop producers in the world.
DENNY DOHERTY- WAITING FOR A SONG CD (el, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*shop favorite, restocked… This is a welcome re-issue of the extremely scarce early seventies solo album by Denny Doherty, who is one of the original members of the hugely successful Mamas & The Papas, one of the best loved of all sixties groups. Denny Doherty is one of the great vocalists of the sixties, a singer described by Mamas & Papas' Michelle Phillips as 'The Psychedelic Frank Sinatra.' With the demise of the group amid drug-induced acrimony, Denny embarked on a solo career which culminated in the 1974 LP Waiting For A Song. The album featured backing vocals by Cass and Michelle Phillips on what proved to be Cass Elliot's final recording, as she would suffer a fatal heart attack in London in July of that year. This album is very much one for aficionados of Margo Guryan/ Free Design style intelligent vocal pop-flowerpower-sunshine pop.
ROGERIO DUPRAT- A BANDA TROPICALISTA DO DUPRAT CD (el, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*shop favorite, restocked… Born in Rio De Janeiro in 1932 the composer Rogerio Duprat lived in São Paulo and it was there in the early sixties that he developed an interest in the avant-garde which would soon lead to him studying in Europe with Karlheinz Stockhausen and Pierre Boulez. Returning to Brazil, Duprat wrote scores for Walter Hugo Khouri's films and, against the background of military dictatorship, Duprat met the leaders of Tropicália, Caetano Veloso and Gilberto Gil; drawn to the movement by their determination to absorb universal culture and revolutionise Brazilian music. So in 1968, he wrote several arrangements for the seminal Tropicália album which involved Caetano, Gil, Tom Zé, Gal Costa, Os Mutantes, Nara Leão and Torquato Neto and played a decisive role in liberating the sound of the ground-breaking albums of Os Mutantes. Duprat's arrangements are marvellous; intelligent, imaginative, playful and distinctive. He has been called the George Martin of Tropicalia -- the Brian Wilson of Brazil. Rogerio Duprat's solo LP A Banda Tropicalista was released in 1968 when he was at his peak. São Paulo was living a modernist dream, classical music was in the air and so was psychedelia. Duprat audaciously fused these elements. Under Rogerio's skillful auspices, material by John Fred and his playboy band, The Beatles and the Cowsills is harmonised with the compositions of Tom Jobim, Caetano Veloso and Gilberto Gil. Os Mutantes perform joyfully on four tracks. Sometimes knockabout, always within an atmosphere of refinement, the album is a cultural mosaic -- a positive happening. In later years Duprat spent time writing jingles but was slowly forced to withdraw from his artistic activities due to hearing problems. He now lives in retirement on his farmhouse in the São Paulo countryside. Today, the work of this important pop composer is being discovered outside of Brazil. Seek out these productions. The name of Rogerio Duprat on any record is the stamp of quality.
THE FOUR KING COUSINS- INTRODUCING... CD (el, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*shop favorite, restocked… At last the re-release of one of the best and rarest albums of the sunshine pop/light psychedelic harmony genre of the late '60s. The Four King Cousins Introducing... is one of the last undiscovered masterpieces of that golden age. Produced, arranged, and conducted by the great David Axelrod under the pseudonym Lex de Azevedo. The already seductive four female voices are charged still further by Axelrod's characteristic sensuality. The Four King Cousins covers of period material such as Bacharach-David's 'This Girl's in Love with You', Brian Wilson's 'God Only Knows' and Roger Nichols' 'Love So Fine' are as good as any contemporary recordings, comparing favorably with giants such as Harper's Bizarre, The Association and The Free Design.
THE DAVE PELL SINGERS- MAH-NA-MAH-NA CD (el, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*shop favorite, restocked… The Dave Pell Singers album is highly prized, top class lounge/harmony sunshine pop. What the Japanese call Soft Rock. Originally issued in 1969, It's many highlights include a breezy version of Piero Umiliani's Mah-Na, Mah-Na and a cool, sensuous performance of the title tune from the controversial musical, 'Oh, Calcutta.' With this release Dave Pell can now take his rightful place amongst the giants of lounge; Andy Williams, Roy Budd, Dudley Moore, Tony Hatch. Dave Pell's behind-the-scenes career may be more familiar to space age pop fans than his own accomplishments as a performer. Head of A&R at United Artists and Liberty Records in the sixties Pell produced well-known albums by Martin Denny, The Ventures, Shirley Bassey and Bobby Vee.
ELLIOTT SMITH- XO LP (plain recordings, usa)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*restocked… Following the success and acclaim of his two releases on the Kill Rock Stars label, as well an Oscar nomination for the use of his song 'Miss Misery' in the film Good Will Hunting, the late Elliott Smith signed with Dreamworks for the 1998 release of XO. With a major label budget for this, his fourth full length album, Smith was able to craft a fully realized pop masterpiece, fulfilling the promise of previous releases. Though firmly in the McCartney/Lennon/Rundgren/Davies school of songwriting Smith was nothing if not an original. Possibly his best record.
ELLIOTT SMITH- FIGURE 8 2LP (plain recordings, usa)
22.98usd/11.65gbp/14.62eur/2387jpy (approx)
*restocked… His second release for the Dreamworks label, and fifth overall, Figure 8 is a lush and beautifully melancholy collection of pop songs. Gone is the intimate lo-fi feel of his Kill Rock Stars albums, replaced by intricate arrangements and orchestration. One gets the feeling that the sound of his earlier work was not by choice but by economic necessity and Smith was now, with a major label budget and backing, able to establish himself as a pop craftsman on par with Brian Wilson and Paul McCartney.
V/A- BLITZING THE BALLROOM: 20 UK POWER GLAM INCENDIARIES CD
(psychic circle, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*As the '70s took hold of the UK, the colorful expectations of the '60s had all but faded away. The Op Art, the psychedelics and the Victorian militia had been replaced by the greys and browns of geometric wallpaper, the three-day week and the oh-so dull Heath/Wilson pendulum. Splashing a much-needed burst of posterpaint color around came the movement that was to be known as glam-rock. No one minded that its chief protagonists had been round the block a few times before: Marc Bolan, Gary Glitter, Alvin Stardust, Mud, The Sweet, Roy Wood and Slade had all been stomping around with varying degrees of success for many years. Tottering precariously around on silver platforms, made up like provocative pantomime dames, playing a strange drum-heavy confection based on rock & roll mixed with nursery rhyme simplicity, the pop world had its sparkling alternative to the head-nodding complexity of the double concept album. Here's a collection of splendid glam obscurities, all laced with a harder edge, as if to prove that, should the need ever arise, these artistes could more than match their progressive counterparts for rock sensibility. Twenty never-before comped glam-rock sparklers specially compiled by legendary psych musician and Psychic Circle label-head, Nick Saloman (The Bevis Frond). Shambles, Tiger, Angel, True Adventure, Change, Stumpy, Union Express, Abacus, Paul Ryder & Time Machine, Panther, Winston, Frenzy, Bullfrog, Pete Dunton, Tim Dandy, Giggles, Stephen, Screemer, Sakkarin and Fynnius Fogg.
V/A- THE ROOM OF LOUD SOUND: HEAVY PSYCH FROM THE USA 1968-72, WHITE LACE & STRANGE VOL.2 CD (psychic circle, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*The Psychic Circle label presents a follow-up to the White Lace & Strange: Heavy Psych and Power Fuzz from the U.S.A. 68-72 compilation, further delving into the less-frequented areas of late '60s and early '70s heavy psych rock from the USA. Gone are the twee excesses of psychedelia. Whimsy has been given a swift boot in the groin and in its place we find a mean bunch of longhairs getting down to some heavy riffing. Post-Hendrix, sub-Cream, quasi-Zeppelin, some of it primitive, some of it sophisticated, all of it rockin' with amps turned up to eleven plus. On this volume, you'll hear the band that would spawn Cheap Trick, a former member of Dion's Belmonts getting all funked up, the drummer of The Knickerbockers working under a pseudonym, the young Leslie West stretching out, and a whole lot more besides. Laid back it isn't!! Enter The Room Of Loud Sound and live to tell the tale. Twenty never-before comped burners specially compiled by legendary psych musician and Psychic Circle label-head, Nick Saloman (The Bevis Frond). Artists include: Hot Soup, Bump, Fuse, Carlo, Five By Five, Plant & See, Morning Sun, Today's Special, Fantasy, Mister Beeler, Peace & Quiet, Six Pak, Salem Witchcraft, The Vagrants, Hammer, Blowtorch, Locomotive, Eagle, The Mystic Number National Bank and Silk.
PAPER BUBBLE- SCENERY CD (rpm, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*A great lost Hollies/Kaleidoscope/World of Oz-style orchestrated pop-sike LP. Orchestrated by Phil Denys (Bee Gees, Eclection), engineered by Tom Allom, and played on by Dave Cousins/Tony Hooper/Richard Hudson/John Ford/Rick Wakeman (then soon to be The Strawbs key line up). A 1969 Deram LP produced by Dave Cousins and Tony Hooper, here receiving its first legitimate reissue in 2008 on RPM. All songs were written by Terry Brake and Brian Crane of The Paper Bubble and the pair provided the atmospheric harmony vocals that underpin the record.
ROCKIN' VICKERS- THE COMPLETE: IT'S ALRIGHT CD (rpm, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*restocked… Mod R&B band of a great reputation during the mid 1960s, loud and raucous similar to The Byrds and Creation. This CD includes their entire recorded output which is four singles plus unissued tracks, a great story helped in writing by founder Harry Feeney, and boasting the first recordings of one time member Lemmy.
THE WALKER BROTHERS- IMAGES CD (rpm, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*The highly impressive Images represents the final flourish of the Walker Brothers' '60s glory days. Released just before break-up in 1967, the LP created a huge impression, initially by charting at no. 6, and over time as a bearer of some excellent Scott Walker and John Maus original compositions. This package adds the two singles recorded in the same period but not released on any LP. With a new essay by David Wells, the original LP cover restored, and rare photos from the Strange Things Archive, this is an essential package for any '60s music fan.
PUNK AND POST-PUNK
IKE YARD- 1980-82 COLLECTED CD (acute, usa)
14.98usd/7.59gbp/9.53eur/1556jpy (approx)
*shop favorite, restocked… Influenced by their punk upbringing, avant-garde schooling, and no wave surroundings in early '80s NYC, Ike Yard managed to create a new sound by also tapping into equal parts the krautrock experimentation of Can, the Neue Deutsche Welle of DAF and the UK post-punk dub of PiL and Joy Division. This combination helped them to create sound and songs unique enough to catch the attention of Factory Records, who made them their first American signing. What really set Ike Yard apart were their cutting edge techniques. The mixing board and effects processors were as important as the bass, synth or occasional guitar, giving Ike Yard an aggressive and propulsive sound, where drum machines beat against the sound of scrap metal and angular guitar slashes dart through arpeggiated synth patterns. Acute Records released on 1980-82 Collected collects, for the first time, Ike Yard's two releases (their Factory LP and an EP for Les Disques di Crepuscule) plus several previously unreleased tracks.
METAL URBAIN- ANARCHY IN PARIS! CD (acute, usa)
14.98usd/7.59gbp/9.53eur/1556jpy (approx)
*shop favorite, restocked… The concept was simple yet unique: marry the post-Stooges guitar aggression of the 'class of 77' punk school with the artsy electronically-processed aesthetic of Roxy Music, Robert Fripp and Brian Eno. The sound: big killer punk rock guitar hooks, squealing textural synth noises, shouted French vocals, and a cheap, adrenalin-fueled drum machine. While most people were just discovering punk, Metal Urbain were blazing the trails for what was to become 'post-punk', with a sound so distinct that Rough Trade would make them their first ever release. Sure, echoes of Metal Urbain can be heard in popular indie bands from the '80s like Big Black and Jesus And Mary Chain, but only now, almost 30 years after their first release, can their genius and foresight be fully appreciated.
METAL BOYS- TOKIO AIRPORT CD (acute, usa)
14.98usd/7.59gbp/9.53eur/1556jpy (approx)
*shop favorite, restocked… After years of forging their seminal synth-punk sound in the late 70s and receiving critical yet little financial success, Paris's Metal Urbain had no choice but to re-group and, with the addition of a female vocalist, take their processed electronics aesthetic even further as the Metal Boys. Their mash-up of sounds and styles makes them difficult to pigeon-hole, but punk, rockabilly, Gainsbourge-esque song, dub, industrial, and new wave all appear. The Metal Boys created one of the greatest synth-pop experiments of the time, but until now few have been able to hear their long out-of-print avant-electro. Acute Records is proud to present for the first time ever on one CD their only LP Tokio Airport plus nine previously unreleased tracks.
V/A- PERFECT UNPOP: PEEL SHOW HITS & LONG-LOST LO-FI FAVORITES VOL. 1 1976-1980 CD (cherry red, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*Perfect Unpop is based on a dangerous assumption: that if you were ever touched by John Peel's enthusiasm for spiky '70s pop, then by now you've probably found yourself a copy of the Undertones' Teenage Kicks. The same applies to raw, beautiful singles by the Buzzcocks, Joy Division, the Clash and the first five Fall albums none of which are included here. Instead, here's a collection of Peel favorites a little less likely to be anthologized, eulogized, or to crop up on your iPod. Anyone who ever cuddled up alone at night with Peel will recognize the glee with which he pounced on these devil-may-care, slightly broken pop songs. Indie also-rans these bands may have been in the Sting 'n' Bono scheme of things, but add up all these flashes of underdog genius, and here s a CD to rival any other from the era of the questionable stringy tie. Although we're missing the voice that always seemed to be speaking to us alone, the unearthing of these nuggets from the playlists will recreate something of the atmosphere of the Peel Show for his undercover legions, and hopefully some young Johnny-cum-latelies as well. Make no mistake, we're talking all-time highlights here where six seconds of dead air would be followed by a sheepish, slightly breathless admission that Peel had been off bopping around the studio!" Artists include: Tours, Vibrators, Subway Sect, Young Marble Giants, Kleenex, The Bears, Wreckless Eric, Swell Maps, The Out, Eater, Disco Zombies, Mo-Dettes, The Outcasts, The Wasps, The 45s, Fatal Microbes, Glaxo Babies, The Prefects, Hollywood Brats, Carpettes, The Tights, The Monochrome Set, Au Pairs, Sinatras, The Boys, Blue Orchids.
V/A- TALES FROM THE AUSTRALIAN UNDERGROUND: SINGLES 1976-1989 2CD (feel presents, australia)
24.98usd/12.66gbp/15.89eur/2595jpy (approx)
*shop favorite, restocked… A collection of some of the great 45's released during Australia's most prolific independent era of 1976 to 1989. Tales highlights selections from the previous careers of acts like Hoodoo Gurus (The Victims & Fun Things), Gangajang (The Riptides), The Cruel Sea (Sekret Sekret), Dave Graney (The Moodists), Big Heavy Stuff (Ups & Downs), You Am I (The Bamboos), Tex Perkins, (Thug), Dirty Three (Venom P. Stinger) as well as classic early releases from Radio Birdman, The Saints, The Scientists, Triffids, Died Pretty, The Mark Of Cain and the Hard-Ons. In addition, Tales from the Australian Underground includes a selection of seminal tracks, previously unreleased on CD. Featured among others are Pel Mel, Sunnyboys, Sardine, Psycho Surgeons, The Leftovers, Do Re Mi, The Numbers, Tactics, X and Wet Taxis. Besides offering up an indie 'best of', Tales from the Australian Underground gives the listener an insight into the sounds and musical styles that were developed over the highlighted period. From raw rock 'n' roll and punk roots, to the eclecticism of the eighties. All documented in an extensive 36 page booklet and 2CD collection.
V/A- DO THE POP! REDUX PART ONE 2CD (savage beat, australia)
24.98usd/12.66gbp/15.89eur/2595jpy (approx)
*shop favorite, restocked… First part of a three-part follow-up to the acclaimed 2002 compilation Do The Pop! The Australian Garage Rock Sound 1976-1987, which surprised everybody by selling over 10,000 copies, and which received substantial acclaim internationally (including a full page in Mojo and a David Fricke review in Rolling Stone in the States). Do The Pop! Redux Part One covers the early years of this scene from Birdman and The Saints and all their punk era contemporaries to their successors like the Sunnyboys and The Flaming Hands. As a bonus it also includes a track from Deniz Tek's pre-Birdman group TV Jones, and a prototype version of '(I'm) Stranded' from 1974, recorded when The Saints still went by their original name Kid Galahad & The Eternals. Does not duplicate any recordings from the original collection. 52 new tracks! Does include previously unreleased material from The Hitmen, The Lipstick Killers, The Survivors, The 31st (featuring Ron Peno, Mick Medew and Tony Robertson), Shy Imposters, The End (Brett Myers) and rarely heard early '80s Sydney legends ME262 and Slaughterhouse 5 (featuring James Darroch). Also a rare and absolutely powerhouse live Radio Birdman track that only recently appeared on an expensive punk boxset in the UK!" Artists include: Radio Birdman, The Saints, The Psycho Surgeons, Babeez, The Reals, The Geeks, The Victims, Last Words, Johnny Kannis, The Survivors, The Leftovers, Johnny Dole & The Scabs, The Numbers (Aaka The Riptides),The Orphans, Rocks, X, The Chosen Few, Razar, The Lipstick Killers, The Hitmen, The Scientists, The Manikins, Fiction (aka Little Murders), The Rockets, The Passengers, The Visitors, The Fun Things, The 31st, ME262, Shy Imposters, Surfside 6, The Sunnyboys, Flaming Hands, The Dagoes, The Lonely Hearts, New Race, Angie Pepper, New Christs, Slaughterhouse 5, The End, TV Jones (featuring Deniz Tek, Kid Galahad & The Eternals (aka The Saints).
AVANT GARDE AND NOISE
WINDY WEBER- I HATE PEOPLE LP (kenedik, usa)
19.98usd/10.13gbp/12.71eur/2075jpy (approx)
*Beautifully colored splatter vinyl featuring a completely different mix & with a shorter length on each song so as to provide the best sound quality. Cover art features a wonderful selection of photos by Christy Romanick and Windy's passport photo from 1987 -- showing a very angry, young, punk rock beginning to this musician's career. Limited to 500 copies… Windy Weber, known for being half of the ambient drone duo Windy & Carl, has recorded a solo album. It is quite different from what you may be thinking -- it has none of the soothing characteristics you may be expecting & instead is full of heavy & brooding music. It's comprised of two tracks -- 'Sirens,' coming in at 24 minutes, is instrumental & is filled with the sound of guitars crying, rising & falling like waves crashing on the rocks. 'Sirens' is ominous and haunting. It is not music to sleep to, but instead could make you tense & anxious. The second track is 'Destroyed.' It is 32 minutes long, and comprised of 3 suites. The first being layers of vocals, woven together to make a chorus of breathing & breathlessness, layers to make you feel as if you may be drowning in the sea, whether that sea be the ocean, or the sea of life, the day to day world in which you must deal. The second suite becomes noisy, agitated, rumbling & distorted guitars, bass & feedback, and makes you sit on the edge of your seat wondering what is about to happen. The third suite takes you to the end of the album with its subsonic frequencies & strange unrecognizable sounds. This is not music for the faint of heart.
JAZZ
SUN RA- DISCO 3000: COMPLETE MILAN CONCERT 1978 2CD (art yard, uk)
32.98usd/16.72gbp/20.98eur/3426jpy (approx)
*24-bit Mastered from the original tapes, with booklet notes by performer Michael Ray. 6-panel digipack. Recorded at The Teatro Cilak, 1/23/1978, Milan Italy. In the winter of 1977-1978, philosopher, pianist and bandleader Sun Ra was in Italy. The Italian tour resulted in releases on Sun Ra's own Saturn label, all of which have long been out of print and all but impossible to find. With the re-release of Disco 3000, one of the most celebrated of these elusive Saturn gems is once more available. This release, and its companion Media Dreams, capture a side of Sun Ra's work -- small ensemble, close form, original composition, rather minimal -- that is otherwise under-represented. Depending heavily on Ra's electric and electronic keyboards (including the mysterious Crumar Mainman -- of which even the company has no record) and, more unusually, on his intelligent use of sequencers and rhythm machines, this is an important window on the evolution of Ra's musical thinking, rendered even more transparent by the economy of its means; a quartet comprising only saxophonist John Gilmore, trumpeter Michael Ray and drummer Luqman Ali.
GLOBAL
V/A- AFRICAN SCREAM CONTEST: RAW & PSYCHEDELIC AFRO SOUNDS FROM BENIN & TOGO 1970s CD (analog Africa, germany)
22.98usd/11.65gbp/14.62eur/2387jpy (approx)
*Just like with the label's first two releases -- albums by Zimbabwean '70s bands the Green Arrows and Hallelujah Chicken Run Band -- the essence of Analog Africa is clear yet again: searching in dusty warehouses for forgotten music to keep it alive. All the tracks have been officially licensed, usually from the artists who Ben Redjeb also met with for detailed research. He conducted 16 interviews in various cities in Benin and Togo with artists, producers and sound engineers to reconstruct the history of the '70s music scene for the 44-page booklet which also includes many rare photographs directly received from the artists. Like most modern music in French-speaking West African countries, the music of Benin and Togo was influenced by a few main musical currents: Cuban, Congolese and local traditional music, as well as Chanson Francaise. Additionally, the geographical location of Benin and Togo -- sandwiched between Ghana and Nigeria -- exposed Beninese and Togolese musicians to Highlife music. The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin's modern music. Benin is the birth place of Vodun (or, as it is known in the West, Voodoo), and some of the rhythms used during traditional rituals -- Sakpata, Sato, Agbadja, Tchenkoumé and many others -- were fused to soul and Latin music as early as the mid-1960s and later to funk. That fusion is the essence of this compilation. In the late '60s and early '70s rock and soul music started creeping into the region. In particular, the music of James Brown and Johnny Halladay became immensely popular with university students. It was then that the music scene in Benin really started to take off. What made this musical revolution even more interesting is that most of the musicians could not read music. Often the music they made sounded one semi-tone away from being out of tune, but somehow they always managed to bring all the elements together into something new and exciting. One of the greatest bands of their era, Orchestre Poly-Rythmo de Cotonou, who are of course featured on this compilation, took the Afro sound to another level by showing their musical versatility in many forms. Although they were consciously copying western artists, they would always inject a dose of psychedelic Afro grooves that would make their music unmistakably Beninese. Their biggest song, 'Gbeti Madjro' is believed to have revolutionized the music industry in Benin in the '70s when the country went through a period of political turmoil. The song is full of raw breaks and the hypnotic rhythms as well as screams à la James Brown -- after this song many bands in Benin started screaming on their recordings, hence the title of this compilation. Latin-influenced sounds are present on this compilation, too. Ouidah, a city on the Atlantic coast of Benin, is home to a large Brazilian community, or, as they are called in Benin, 'Agoudas.' Members of that community are descendents of slaves who returned from Brazil at the end of the 19th century. Their dances (such as Kaléta and Buriyanj) and songs are still being performed and fused into the traditional Beninese rituals. That, too, can be heard in modern Beninese music. The proximity of the giant neighbor Nigeria can be heard on the track 'Djanfa Magni' which features the amazing trumpeter/ saxophonist Tidjani Koné fronting the Orchestre Poly-Rythmo. Koné whose career started in Mali as the founder and band leader of the Rail Band de Bamako, had played with Fela Kuti for a short while hence the strong Afrobeat influence. There are countless stories to be discovered in the extremely well-researched booklet and the music is truly mind-blowing. So delve into the forgotten raw and psychedelic Afro sounds from '70s Benin and Togo and experience the African Scream Contest.
V/A- THE MUSIC OF ISLAM VOLUME 1 CD (celestial harmonies, usa)
15.98usd/8.10gbp/10.17eur/1660jpy (approx)
*Classic 1997 series of Islamic music, 15 volumes spread out over 17 CDs, i’m gonna do my best to stock all of em, but for now, here’s 5 volumes… Nearly all traditions of Arabic music, including Egyptian, are strongly defined by rhythm. A glance at the history and structure of Arabic music, the most modern of which is based in Egypt, imparts an insight into an unheard of multifaceted aspect of traditions and functions; styles and repertoires, genres and instruments, forms, and structural principles. Arabic music shows a dynamic and changing historical evolution. This first volume in The Music of Islam series clearly reflects this, belonging to both old and new styles -- in repertoire and performance the music in this recording reflects the new Egyptic style while the orchestration follows the older Arab practices. What is unique about this volume is that it incorporates only instrumental recordings. This is highly unusual. But this one sideness is toned down as all other instrumental pieces are determined thematically -- except the pure musically bound solo taqsim (instrumental improvisations) and the sama'i (Turkish, aristocratic art music) -- be it through renowned texts of the songs performed by the instruments or through programmed indications, which are characteristic for many new Egyptian instrumental compositions. The musicians featured in this volume are regarded as some of the most outstanding and sought-after studio musicians in all of Egypt. They play traditional Arabic instruments and are masters of classical, folk and popular music. The ensemble includes Mamdouh El Gbaly playing 'ud (lute), Mostafa Abd El Khalek playing the qanun (zither), Mohammed Foda playing the nay (flute), Khaled Gomaa playing tabalah (goblet drum), Ibrahim Gomaa playing duff (frame-drum), and Hesham El Araby playing riqq (tambourine with small cymbals).
V/A- THE MUSIC OF ISLAM VOLUME 2 CD (celestial harmonies, usa)
15.98usd/8.10gbp/10.17eur/1660jpy (approx)
*The Sinai, under the control of Egypt today, is a triangular peninsula bridging North Africa and the Middle East. The unique and varied landscape, resources, demands and dangers of the South Sinai has allowed the Bedouin there to develop their own lifestyle and culture. The Bedouin music culture also developed against the backdrop of the desert -- a place of intense silence. Out of the silence, the desert Bedouin culture has evolved a profound sensitivity and mystical appreciation for sound which permeates every aspect of Bedouin life. The piercing cry of women's ululations express acclaim on festive occasions, the plaintive melody of the shepherdess's flute accompanies her watch over the sheep and goats, and the rhythmic beating of framedrums exorcise evil spirits from holy places and tombs. But for the Bedouin, the most subtle and charged of man-made sounds is the spoken or sung word. Bedouin music is probably the oldest part of the entire repertoire of folk music in the Arab world. Thus, this recording is a celebration as well as a sound document of their traditional culture and unique identity. From the harsh and beautiful land of desert plains and rugged red-brown and black mountains -- the South Sinai --this volume features the traditional folk music of the legendary desert nomads. Recorded in a single night, in a dry riverbed under a full moon, the backdrop of the desert offered a priceless doorway into this ancient culture, people and music, capturing their very essence.
V/A- THE MUSIC OF ISLAM VOLUME 6 CD (celestial harmonies, usa)
15.98usd/8.10gbp/10.17eur/1660jpy (approx)
*This volume features songs from various sections of the lila (music ritual) repertoire of the Gnawa. The Gnawa inhabit the same religious world as Arab Muslim Moroccans, yet find their entry into it via a different path. Instead of reciting prayers in preparation to trance ceremonies, the Gnawa's authority is invoked by recounting their people's experience as in Ulad Bambara (track 1). A long suite of songs, it opens with praise to God and the Prophet Muhammad and his daughter Lalla Fatima, but also refers to the Gnawa centers, including Marrakesh, as well as entreat the assembly to make pilgrimage to the local awliya' saints. Thus establishing the present location in Muslim Morocco, the song moves south and recalls the Gnawa's lands and people of origin as well as some spirits of West African origin and the abduction and transporting of slaves from the Sudan. The singing ends with the proclamation of faith and gives way to a series of dances. Singing in a call/response style -- the lead singer being answered by other members of the group in chorus -- the lead singer determines the length of sung portions, while the sintir signals changes in tempos or meter, announces new songs by switching the melody, and signals the ends of songs with cadential cues. The songs are flexible in length, allowing the leader to shorten or lengthen a song to accommodate the needs of dancers in trance. The Gnawa use three main instruments, which are particular to them: the sintir or hajhaj, a long-necked lute of the guinbri family; the qraqeb or qraqesh, a pair of hand held metal clappers; and the tbel, a barrel drum with two heads struck with sticks.
V/A- THE MUSIC OF ISLAM VOLUME 7 CD (celestial harmonies, usa)
15.98usd/8.10gbp/10.17eur/1660jpy (approx)
*North Africa became the stronghold of Arab-Andalusian music after the fall of Granada in 897/1492, yet the existence of the nubah (plural nubat, literally rotation or succession) system in Morocco can be traced back earlier, to at least the XI/12th century. Much of the repertoire has been lost over the years, and different areas preserve different nubat. In Morocco today, there are at least two distinct styles of Arab-Andalusian music, al-Ala, which is the most prevalent one across the country, and Gharnati, specific to Oujda in eastern Morocco and to Tlemcen in Algeria. These traditions are considered to be Morocco's classical musical hertiage. The repertoire of the al-Ala today is highlighted in this volume. It consists of eleven nubat which were standardized in the late XII/18th century. A nubah is divided into five sections, each corresponding to a particular mizan -- rhythmic pattern. Within each of these rhythmic phases, there is a slow and a fast version of each mizan. A nubah is actually never performed in its entirety, for this could take over six hours. Each Moroccan nubah contains between 95 and 153 songs and instrumental pieces. The layout of the nubah functions more as a matrix of possible performance choices than as a plan that must be adhered to. A typical nubah performance will consist of several pieces from a few different rhythmic phases. The musicians of the featured ensemble are ambassadors of this living tradition. Led by El Kacimi Mohamed, the ensemble uses traditional Arabic instruments. El Kacimi Mohamed plays the kamanja (violin), Ahmed El Kamas plays the 'ud (lute), Abdelkarim Doukhou plays the nay (flute), and percussionists Abdelilah Azlas and Mohamed El Rhouni play the darabukka (clay goblet drum) and tar (tambourine).
V/A- THE MUSIC OF ISLAM VOLUME 8 CD (celestial harmonies, usa)
15.98usd/8.10gbp/10.17eur/1660jpy (approx)
*According to producer David Parsons this volume was the most difficult in the series, both technically and information-wise. 'It was a classic case of trying to record, with one stereo microphone, a group of singers who also played drums', exclaims Parsons. Yet, however technically challenging it may have been, the end result is nonetheless superb. Two of the most beautiful songs (tracks 2 and 7) on the recording feature the mawwal -- a vocal form which usually follows the performance of the layali --vocal improvisations. The form was known as early as the III/9th century where it was described in connection with the working class. Also featured is a modern composition (a rarity in this series) by group leader and vocalist, Lotfi Jormana. As in traditional music, the melodic component of this song is shaped by the concept of maqam -- or mode -- which governs the construction of melodic phrases, standard melodic formulae, cadential patterns, and vocal range. Recorded in a house in the medina, the old quarter of the city of Tunis, the capital of Tunisia, this volume features the traditional instruments and songs of the folkloric music of Tunisia which thrive as a living testament to the wide spectrum of cultures and practices across the World of Islam. Performed by the Lotfi Jormana Group, this volume features the melodic mizwid -- Tunisian bagpipe played in the central regions of Tunisia accompanied by percussion. The mizwid has two melody pipes and no drone pipes. In instrumental music the long flowing melodies of the mizwid seem to soar above the pulse of the percussion group. In vocal music, the mizwid echoes, punctuates, and connects individual vocal phrases.
V/A- NIGERIA ROCK SPECIAL: PSYCHEDELIC AFRO-ROCK & FUZZ FUNK IN 1970s NIGERIA CD (soundway, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*Nigeria Rock Special shines a light on the flipside of the well-documented sounds of highlife and Afrobeat coming out of Nigeria in the 1970s -- young bands caught up in the wave of psychedelic and progressive rock that was sweeping Europe and the States in the late '60s and early '70s. As time goes by, the many layers of musical output that formed around the world throughout the 1960s and '70s continues to be peeled back to reveal many welcome surprises. The explosion of rock n' roll that erupted out of the USA in the '50s fanned out around the globe from its epicenter and by the mid-1960s, kids all over the world were picking up guitars and checking themselves in mirrors. Nigeria was no exception. Spurred on by Cream drummer Ginger Baker's visits to Lagos and his band Airforce (featuring many Nigerian musicians), the sound of fuzzed-out rock reverberated around the universities and nightspots of Lagos and Ibadan. The craze that followed hit the youth and student population of Nigeria hard -- mixing fuzz guitar and heavy African rhythms with elements of Led Zeppelin, Traffic and The Chambers Brothers. Fifteen of the best cuts from the scene are available here for the first time in 30 years. Artists include: Ofege, The Action 13, The Hygrades, The Wings, Ofo The Black Company, The Elcados, Mono Mono, Tabukah "X", The Funkees, Colomach, Joe King Kologbo & His Black Sound, Question Mark, Original Wings, Tunji Oyelana and BLO.
V/A- NIGERIA DISCO FUNK SPECIAL: THE SOUND OF THE UNDERGROUND LAGOS DANCEFLOOR 1974-79 CD (soundway, uk)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*cd version of this essential compilation in stock for the first time… Lagos, Nigeria, 1974-1979: the funk & disco capital of West Africa. More nightclubs, bars, spots and dancefloors than any place along the coast from Dakar all the way to Kinshasa. Nigeria Disco Funk Special is an amazing collection of heavy dancefloor grooves from urban Lagos in the '70s -- hot and driving slices of funk, disco and boogie that show just how vibrant the music scene was in one of West Africa's most populous and culturally diverse cities. In the '70s, it wasn't just James Brown who influenced the musicians playing in the nightspots of Lagos -- the loose-structured and elongated jams that he was pioneering in America had been a part of Nigerian music much longer than that. This album is the sound of Cuban-heeled and micro-minied Lagos youth soaking up the sound of the American discotheque and putting their own inimitable twist on the proceedings. The CD and double gatefold vinyl include rare tracks from famous musicians like Bongos Ikwue & The Groovies and Mono Mono's Joni Haastrup, as well as selections from cult bands like Asiko Rock Group, SJOB Movement and Jay-U Experience. Other artists include: The Sahara All Stars, T-Fire, Voices Of Darkness and Dr. Adolf Aonotu.
V/A- COLOMBIA! THE GOLDEN AGE OF DISCOS FUENTES: THE POWERHOUSE OF COLUMBIAN MUSIC 1960-76 CD (soundway, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*cd version of this essential compilation in stock for the first time… Soundway Records presents the tropical sound of Colombia. From the salsas and descargas of Cali, Medellin and Bogota to the Afro sounds and raw cumbias of Cartagena and Barranquilla, this is the sound of Colombian dancehalls and clubs in the '60s and '70s, when the legendary Discos Fuentes record label led the way. The sounds emanating from the barrios and beaches of Colombia are a unique mixture of Latin sounds and Afro rhythms, drawing influences from the New York and Puerto Rican Latin scenes, the highlife and rumba of West Africa and the calypso of the Caribbean, as well as the tropical rhythms of the Colombian cumbia, gaita, fandango and porro. Driving percussion, swinging horns, hot pianos and jumping bass lines -- this music was made for dancing.
V/A- COLOMBIA! THE GOLDEN AGE OF DISCOS FUENTES: THE POWERHOUSE OF COLUMBIAN MUSIC 1960-76 2LP (soundway, uk)
22.98usd/11.65gbp/14.62eur/2387jpy (approx)
*shop favorite, restocked on vinyl… Soundway Records presents the tropical sound of Colombia. From the salsas and descargas of Cali, Medellin and Bogota to the Afro sounds and raw cumbias of Cartagena and Barranquilla, this is the sound of Colombian dancehalls and clubs in the '60s and '70s, when the legendary Discos Fuentes record label led the way. The sounds emanating from the barrios and beaches of Colombia are a unique mixture of Latin sounds and Afro rhythms, drawing influences from the New York and Puerto Rican Latin scenes, the highlife and rumba of West Africa and the calypso of the Caribbean, as well as the tropical rhythms of the Colombian cumbia, gaita, fandango and porro. Driving percussion, swinging horns, hot pianos and jumping bass lines -- this music was made for dancing.
V/A- PANAMA! LATIN, CALYPSO AND FUNK ON THE ISTHMUS 1965-75 CD (soundway, uk)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*cd version of this essential compilation in stock for the first time… Heavy tropical sounds from the Isthmus! Panama played host to many musicians from across the Caribbean to South America, laying down some of the best Latin, funk and calypso ever recorded -- long forgotten and unrepresented until now! Soundway continues its mission to expose the best in funk, Latin and Afro music from Africa, the Caribbean and South America by introducing the likes of the The Exciters, Victor Boa and Lord Cobra once again, giving them the exposure and recognition they deserve. Panama occupies a unique place both geographically and culturally within Central America and the Caribbean. The clubs and bars of Panama City and Colon would vibrate to sounds imported from Colombia, Jamaica, Trinidad, New Orleans, Miami and the Caribbean, all given the special Panamanian dressing. We have dug deep to present a broad range of styles that run parallel to the development of soul and funk music in the US and the nascent salsa sound emerging from Miami, Cali and Baranquilla. The album covers heavy Latin descargas, raw calypsos, deep funk sounds and Caribbean soul -- all unavailable since they were first issued in tiny numbers thirty years ago! All tracks have been carefully licensed and re-mastered and sound as vibrant and relevant today as the day they were released. This album represents an important departure for Soundway as their first full-length collection of music from outside the African continent. It is a continuation of their aims to expose overlooked styles and sounds from different parts of the world and bring together the disparate strands that make up the rhythms of African, Latin and Caribbean music. Both CD and double gatefold vinyl come packed with in-depth liner notes, original cover scans and contemporary photos.
V/A- PANAMA! LATIN, CALYPSO AND FUNK ON THE ISTHMUS 1965-75 2LP (soundway, uk)
22.98usd/11.65gbp/14.62eur/2387jpy (approx)
*shop favorite, restocked on vinyl… Heavy tropical sounds from the Isthmus! Panama played host to many musicians from across the Caribbean to South America, laying down some of the best Latin, funk and calypso ever recorded -- long forgotten and unrepresented until now! Soundway continues its mission to expose the best in funk, Latin and Afro music from Africa, the Caribbean and South America by introducing the likes of the The Exciters, Victor Boa and Lord Cobra once again, giving them the exposure and recognition they deserve. Panama occupies a unique place both geographically and culturally within Central America and the Caribbean. The clubs and bars of Panama City and Colon would vibrate to sounds imported from Colombia, Jamaica, Trinidad, New Orleans, Miami and the Caribbean, all given the special Panamanian dressing. We have dug deep to present a broad range of styles that run parallel to the development of soul and funk music in the US and the nascent salsa sound emerging from Miami, Cali and Baranquilla. The album covers heavy Latin descargas, raw calypsos, deep funk sounds and Caribbean soul -- all unavailable since they were first issued in tiny numbers thirty years ago! All tracks have been carefully licensed and re-mastered and sound as vibrant and relevant today as the day they were released. This album represents an important departure for Soundway as their first full-length collection of music from outside the African continent. It is a continuation of their aims to expose overlooked styles and sounds from different parts of the world and bring together the disparate strands that make up the rhythms of African, Latin and Caribbean music. Both CD and double gatefold vinyl come packed with in-depth liner notes, original cover scans and contemporary photos.
DUBSTEP AND GRIME
COTTI/KING SOLY- THE SEARCH/BASSFACE/TAKEOVER 12” (soul jazz, uk)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*One of three killer dubstep 12"s released on the same day on Soul Jazz Records. Cotti's numerous white label heavyweight dubstep releases ('I Don't Give A Dub,' 'Calm Down') have made him one of most in-demand producers of the moment. Cotti also features on Soul Jazz Records' Box of Dub. These 3 new exclusive cuts are heavy, dark dub-influenced cuts with plenty of sound effects and killer bass-lines. Heavy club and radio support from Digital Mystikz, Benga, Skream, Mary Anne Hobbs and more.
CULT OF THE 13TH HOUR- WICKEDNESS 12” (soul jazz, uk)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Cult of the 13th Hour is the pseudonym of two of the biggest names in dubstep at the moment. 'Wickedness' first appeared on Soul Jazz Records' Box of Dub alongside Digital Mystikz, Ramadanman, Skream, Cotti and more. This new mix and exclusive heavyweight dub version adds elements of 2-step, reggae and dancehall to the equation to give us one of the heaviest sounds around!
RAMADANMAN- CARLA/OFFAL/KABLAMMO ELEVEN 12” (soul jazz, uk)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*This 12" features 3 exclusive new killer tracks by Ramadanman, one of the shining lights in the new generation of dubstep artists who has releases on Soul Jazz Records (featured on Box of Dub), Bare Dubs, 2nd Drop Records and his own Hessle Audio. Ramadanman has performed alongside Digital Mystikz at DMZ, Skream, Benga, Kode9, Rusko, Plastician and this track is being played by everyone from Skream, Kode9, Benga, Mary Ann Hobbs, Gilles Peterson, Distance, Ikonika and more.
HOUSE, TECHNO AND DISCO
MARTINEZ- RETROSPECTIVE 12” (3rd floor, denmark)
12.98usd/6.58gbp/8.26eur/1348jpy (approx)
*The record is already gaining support from far and wide by name DJs like Loco Dice,Tiefschwarz, Mathias Kaden, Serafin and Federico Molinari. A serious dose of forward thinking house music, and a must for the spring! These days, Martinez is gaining a lot of appreciation with his releases on Cray 1 Labworks, LoMidHigh Ltd. and his own Re:Connected label. What a lot of people don't realize is that the man actually kicked off his music production career on the famed Chicago house label Guidance. For his second release on 3rd Floor Records, the busy Dane/Swede has come up with what we believe is a perfect mix between his house-side and his newer material with a more techno-ish touch. 'Retrospective' is a hard-hitting piece of swing techno, while 'Blue Line' is a deeper, slightly hypnotic house affair still with the serious injection of funk that underlines the A-side.
MINILOGUE- ANIMALS 2LP (cocoon, germany)
19.98usd/10.13gbp/12.71eur/2075jpy (approx)
*double lp version. Malmö, Sweden's Minilogue (Sebastian Mullaert and Marcus Henriksson) present Animals. Nowadays, electronic producers tend to retreat into their special stylistic niche -- Minilogue dare to draw the bigger picture. After releasing outstanding productions on such renowned labels as Traum, Crosstown Rebels and Wagon Repair, this vinyl version of their upcoming 2CD full length (one CD devoted to ambient, the other to club tracks) focuses on dance tracks. The immediacy of the club tracks incorporate the elegance and simplicity of classic early '90s techno, the economy and lightness of the minimal sound and the sweetness and charm of their recent developments. As Son Kite and Trimatic, Mullaert and Henriksson became very successful in the trance scene, playing enthusiastically-received live sets all over the world. With Minilogue, they leave the boundaries of that genre -- and actually of any genre. This is music that stretches out towards the horizon in a gesture of unmitigated desire: a desire for wideness, a desire for sound, a desire for the elementary beauty of techno.
DASO- TINNITUS 12” (connaisseur, germany)
12.98usd/6.58gbp/8.26eur/1348jpy (approx)
*Daso is back with his third release on Connaisseur. This newest output has a specific theme: tinnitus. Daso kicks asses with the A-side, and heralds the open-air beach party season with the B-side. "Tinnitus" is a rumbling techno machine -- a ringing sound sidles through a dull echo chamber -- like tinnitus. This track will cause states of raving emergency on the dancefloor. "Pars Tensa" features a knobbly but hypnotic acid bass line matched with a Spanish guitar. Outstanding.
MINILOGUE- ANIMALS 2LP (cocoon, germany)
19.98usd/10.13gbp/12.71eur/2075jpy (approx)
*double lp version. Malmö, Sweden's Minilogue (Sebastian Mullaert and Marcus Henriksson) present Animals. Nowadays, electronic producers tend to retreat into their special stylistic niche -- Minilogue dare to draw the bigger picture. After releasing outstanding productions on such renowned labels as Traum, Crosstown Rebels and Wagon Repair, this vinyl version of their upcoming 2CD full length (one CD devoted to ambient, the other to club tracks) focuses on dance tracks. The immediacy of the club tracks incorporate the elegance and simplicity of classic early '90s techno, the economy and lightness of the minimal sound and the sweetness and charm of their recent developments. As Son Kite and Trimatic, Mullaert and Henriksson became very successful in the trance scene, playing enthusiastically-received live sets all over the world. With Minilogue, they leave the boundaries of that genre -- and actually of any genre. This is music that stretches out towards the horizon in a gesture of unmitigated desire: a desire for wideness, a desire for sound, a desire for the elementary beauty of techno.
DOMINIQUE- MORE LOVE NOW LP (dial, germany)
17.98usd/9.11gbp/11.44eur/1867jpy (approx)
*lp version. This is the third release from Dominique, the Berlin-Kreuzberg based group, started around 1999. From the beginning, Dominique has been structured more as a loose collective than as a band, each member already an artist, writer, filmmaker and/or musician in their own right. Building on the success of their first album Speak To Me and the more or less "live" sequel The Same You, their third album More Love Now, is their most ambitious, elaborate and best offering to date. It was written and recorded over a period of two years by the band's current six members plus various guests; Thomas Goldhahn recorded and helped to arrange the strings, and if Dominique's collaborative ethos accounts for the music diversity of the album, it is Richard Davis' production that lends their combined efforts its sparkle and epic grandeur. Though still recognizably a Dominique album, this time each song is given its own distinct and complex sound, creating separate spaces for their evocative lyrics to do their work. In the mind's eye, images follow the precisely-blended lyrics and harmonies. Chimes, harmonica, chords on an acoustic guitar and a changing snare-drum sound accompany soft-spoken word and rich singing. There is even a band choir on "Air," as well as euphoric group singing on "You Know Now." Dominique's music is about contours, even when as in the mildly psychedelic "Goldchain," isolated background sounds flutter out of the arrangements like surprise visitors, migrating birds, or travellers. Throughout the album, the group insists on More Love Now, knowing all the while that it requires as much care as possible.
SWEET N' CANDY- THE WICKED KEEPER 12” (district of corruption, germany)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Sweet n' Candy brings a very well rounded EP to DoC. Rico Henshel (aka Sweet n' Candy) is another techno veteran who needs little introduction. The Wicked Keeper EP also features a remix by DoC label boss, Aaron Hedges, and Beaner (who is also soon to release his 2nd record on Rekids -- Radioslave's label).
BOB CREWE & CHARLES FOX- BARBARELLA OST LP (dynovoice, usa)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Bob Crewe is the man behind Dynovoice Records and the 1967 instrumental single 'Music to Watch Girls By.' The Barbarella soundtrack, originally released in 1968, was performed by The Bob Crewe Generation Orchestra & sung by The Glitterhouse and Bob Crewe. a proto-disco essential.
SHANTEL- DISKO PARTIZANI REMIXES 12” (essay, germany)
12.98usd/6.58gbp/8.26eur/1348jpy (approx)
*Shantel's "Disko Partizani" is a worldwide anthem of the Balkan pop movement. The video has over 1 million clicks on YouTube and MySpace, and is in heavy club rotation in France, Italy, Austria, Greece, Turkey and the Netherlands. Featuring exclusive and strictly limited remixes by Yamaha vs. Electrico, Marcus Darius and Tricky Cris, and Dublex Inc.. "Disko Partizani" is a place where electro, house, freestyle, hip-hop and dub-heads shake hands, drink vodka and rock out.
SHANTEL- DISKO PARTIZANI 2LP (essay, germany)
18.98usd/9.62gbp/12.07eur/1971jpy (approx)
*restocked… Limited edition vinyl: two 180 gram vinyl 12"s, cover printed on high quality 350 gram cardboard. CD version will be released on Crammed Discs, worldwide. Renowned German DJ/producer Stefan Hantel, aka Shantel from Frankfurt/Main, has firmly established himself as an all-around, world-class electronica producer. After pioneering the concept of Balkan clubbing with his now legendary Bucovina Club parties and albums, Shantel moves on to the next level and releases Disko Partizani (his first solo album in seven years), which lays the foundations for an innovative new brand of pop music. This is the sound of new Europe, incorporating vibrant influences from the emerging new frontier that stretches all the way to Mitteleuropa, the Southeast, Greece, Turkey and beyond. The album features great performances by a host of musicians from southeast Europe and by Shantel himself, who also appears on lead vocals, gracing several tracks with an unexpected, elegant deadpan delivery. Disko Partizani sees Shantel successfully synthesizing his experiences as a producer, musician and DJ to create catchy, energetic and festive pop songs, full of hooks and surprises. Eastern European elements are adopted with real respect for their cultural roots, and then fused and transformed into a new form of urban music that works as an interface between East and West. Venerable melodies and rhythms, some of them dating back to the Byzantine Empire, are rejuvenated and used as a new source of inspiration for modern, trans-European pop, a welcome alternative to some of the more worn-out Anglo-Saxon musical models. Shantel conceived these songs while traveling, and found inspiration in the most unlikely locations: a railroad station in Romania, a highway stop in Greece, an airport terminal in Istanbul, an Arabic café in Tel Aviv, a taxi stand in Sofia, the back seat in a Mercedes Benz belonging to a Macedonian gypsy king, backstage in London, Paris and Rio de Janeiro. Some may define it as belly dance meets hip-hop, electronica-fuelled Balkan stompers, Klezmer reggae rock'n'roll tunes, etc., with lyrics in English, Romanian, Serbian, Rom (Gypsy) and so forth. Whatever this is, it is joyful madness.
ZERO CASH & KHAN- CHITIN BODY 12” (i’m single, germany)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Chitin (C8H13O5N) is a long-chain polymer of a N-acetylglucosamine, a derivative of glucose, and it is found in many places throughout the natural world. It is the main component of the cell walls of fungi, the exoskeletons of arthropods, such as crustaceans (like the crab, lobster and shrimp) and the insects (including ants, beetles and butterflies) [Wikipedia]. Here's the second outing on I'm Single with a deep disco-rawk 12" in shiny black leather. Written & produced by Zero Cash (Television Rocks/Cologne) and Khan (Captain Comatose/I'm Single) who have teamed up before. After the smashing debut on IMS with 'Who Never Rests Remixed Vol.1' including the DJ favorite 'On The Run - Kaos Mix' and the pop jewel 'Favor After Favor' comes the appropriate follow up with 'Chitin Body.' This is a disco-ball-sized Scarab. A motorcycle gang vandalizing the dance floor. A night out spinning chitin records at Panoramabar.
PLUXUS- TRANSIENT 12” (kompakt, germany)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*no info on this one, but hey, it’s new on kompakt, so just based on that, it’s got more going for it than most new releases.
SCOTTIE B, KING TUTT, SAY WUT FEAT. MOLEQUE BIL & MC GUS- FUNK MUNDIAL #6 12” (man, germany)
12.98usd/6.58gbp/8.26eur/1348jpy (approx)
*The sixth installment in Man Recording's Funk Mundial series presents the world's first-ever baile funk/Baltimore Club collaboration. Baltimore is home to irresistible breakbeat-based party music that brings together the best of both hip-hop and house music, and when paired with baile, makes for an irresistible hybrid. Scottie B and King Tutt pair up with Rio's Moleque Bil and Say Wut teams with MC Gringo collaborator, MC Gus. Funky breaks, beatboxing, basses and baile: the favela meets the Baltimore streets.
FOAT & BODDY- DROIDNOSH 12” (mule electronic, germany)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Foat & Boddy is London-based DJ/A&R consultant Dan Foat and production whizz Nathan Boddy. Having formed in late 2007, the pair are already causing a stir in the underground with their demo-winning plaudits from the likes of Âme and Ralph Lawson, who has been dropping their debut release Droidnosh to devastating effect at Back To Basics and beyond.
LOSOUL- RAW BEAUTY 12” (playhouse, germany)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Losoul's 2000 classic Raw Beauty fits the beach like a sunburn or iced-lollies. Once you dance to the warm groove of this track, you can feel the sand beneath your feet. Luke Solomon's remix decreases the speed of the original a little bit, but also adds a fine melody and freaked out vocals. No longer an insider tip, "Raw Beauty" is ready to re-explode.
DASO & PAWAS- DET 12” (spectral sound, usa)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Slowly moving and turning, "Det" is the sonic equivalent to watching the ocean: great changes are constantly occurring. The title track is a subtle classic, marrying the most elegant points of house and techno into a sublime whole. Schatrax's remix adds a modernized house sound to the original, like a depth charge of bass to the ocean floor, where iridescent creatures emerge from the shadows. The propulsive "Brazil To Detroit" is an imaginary pathway through both grit and beauty.
V/A- DEATH IS NOTHING TO FEAR 4 12” (spectral sound, usa)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*The Death Is Nothing train keeps rolling with four new cuts, from both Spectral mainstays and a few surprises. Alexi Delano delivers an amazing cut with Francisco Allendes -- a menacing affair, perfect to set the room ablaze. Kill (aka Kill Memory Crash) presents a pounding grinder of a tune with "France," bridging the gap between electro and techno. TNT deliver a brisk groove, and Daso's track is like the dusk, a slow ride into the sunset, moody and majestic.
MIHALIS SAFRAS- INTERAFRICA 12” (trapez, germany)
11.98usd/6.07gbp/7.62eur/1244jpy (approx)
*Mihalis Safras fuses African sounds with minimal, stripped-down fat beats on Interafrica. The title track will be big with minimal as well as house DJs, incorporating some very catchy African sounds that tear down the boundaries between genres. "Interamerica" evolved from "Interafrica," picking up on the world music sound, while binding it in a minimal techno corset. Interafrica has already created a mighty stir with the few people who have heard it.
PEACE DIVISION- PRESENTS THE LAB 12” (tsuba, uk)
12.98usd/6.58gbp/8.26eur/1348jpy (approx)
*2007 saw Peace Division turn in a superb and heavily supported 12" for Crosstown Rebels as well as impeccable remixes for Audio Soul Project and Kerri Chandler. 2008 sees them kick off a brand new project for Tsuba: Peace Division Presents The Lab. Devised as an outlet for deeper, sample based experiments within house music, The Lab's first creation is a 5-track EP for the highly regarded London based imprint. As you'd expect, the undeniable Peace Division groove which has made PD one of the most respected duos in house music is in full force throughout this EP. The beat-perfect arrangements that Drake and Henry are known for are here too but there's an increased warmth throughout with the use of sparse chords, subtly used samples and gentle layering of sounds. From the heavy John Ciafone-esque vibes of 'Theory' and 'We Want You' to the smooth liquidity of 'Get Over It' via the futurist updates of the traditional house template of 'Basik' of 'In My Mind' this EP is Peace Division at their very best. With well over ten years experience at the top of their game as DJs and producers it's no surprise that Clive Henry and Justin Drake have a constant stream of support in all they do.
GIFT CERTIFICATES
gift certificates are always available in any denomination and come in a envelope ready to be stocking stuffed, slipped into pockets or dispensed in any way you see fit. they can be paid for in cash, credit card (visa, master card or discover) or paypal in person, phoned in or via email. gift certificates not paid for in person can either be mailed to you, or we can keep it in shop if the recipient plans to use it for mail-order.
ADDRESS
tequila sunrise records
525 w. girard avenue
(btwn 5th and 6th streets)
philadelphia, pa 19122
SUBWAY: blue or orange line to girard ave TROLLY: 15 to 5th street BUS: 57 to girard/3rd-4th st; 47 to girard/7th-8th st.
MAP
t/us: 1215 965 9616
t/uk: 0203 004 8357*
e: ajv@tequilasunriserecords.com
u: www.tequilasunriserecords.com
m: www.myspace.com/tequilasunriserecords
b: www. tequilasunriserecordshop.blogspot.com
HOURS (US)
monday: closed
tuesday: 12:00-6:00pm/est
Wednesday: 12:00-6:00pm/est
thursday: 12:00-7:00pm/est
friday: 12:00-7:00pm/est
saturday: 12:00-6:00pm/est
sunday: 12:00-6:00pm/est
HOURS (*UK)
monday: closed
tuesday: 5:00-11:00pm/gmt
Wednesday: 5:00-11:00pm/gmt
thursday: 5:00-12:00pm/gmt
friday: 5:00-12:00pm/gmt
saturday: 5:00-11:00pm/gmt
sunday: 5:00-11:00pm/gmt
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