NEW ARRIVALS AND RESTOCKS FRIDAY, OCTOBER 24
thanks for looking.
alright… fall is here!!! and along with the brisk and beautiful days comes boxes and boxes of killer records… fall and records, huh? what’s up with that? welp, i’ll tell ya… there is nothing –nothing- better than biking –or walking, if you prefer- home in the evening, stars shinning, the wind ever so slightly stinging your face, knowing that you have a nice clutch of vinyl in your back-pack that you can dig into once inside your apartment… pour a beverage of your choice, lay one of those records on the turntable and… make some dinner… or something… whatever you chose to do, don’t miss out on this weeks top picks: carl craig/moritz von oswald colab on deutsche grammophon (!!!); new volume in the history clock series; sprigs of time compilation on honest jon’s and a nice reissue of the famous oz days comp… all totally essential! plus new and restocked titles on catsup plate; drag city; mississippi; no more records; soul jazz; soundway; baltimore club classics; black cock; cocoon; eskimo; flexx; non standard productions; ornaments, same soul different body and more… come on by and check em out!
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.
PICKS OF THE WEEK
CARL CRAIG/MORITZ VON OSWALD- RECOMPOSED CD (deutsche grammophon, germany)
*ReComposed is the result of a gradual process, even the 'Intro' was set down at the very first session -- in Detroit, Michigan, which is and has been the center of the development of Afro-American techno music for about 20 years. And it was about 20 years ago that the recordings by the Berlin Philharmonic Orchestra of the works, which the two artists have used for their project, were released for the first time on CD. Moritz von Oswald told me that the commissioning company wanted them to use an historic recording by the Berlin Philharmonic under Herbert von Karajan's baton, but that he expressed the wish to use unmixed multi-track recordings in order to better employ the various instruments. Sure enough, recordings (with 16 separate tracks) of this nature existed, among them precisely the three works that Moritz von Oswald and Carl Craig, whom Moritz spontaneously invited to work on the project with him, wanted to use: Maurice Ravel's 'Bolero' and 'Rapsodieespagnole,' and Modest Mussorgsky's 'Pictures at an Exhibition' in Ravel's orchestration. After a first meeting in Moritz's home town, Berlin, where they listened to the original Deutsche Grammophon recordings from 1985, 1986 and 1987, Moritz set to work on the pre-production of various bits and pieces they had chosen, isolating certain instruments or groups of instruments, separating them out from various microphone-tracks, and mixing them anew. Then he took everything to Carl Craig in Detroit where the two musicians (both highly acclaimed techno innovators ever since the birth of the genre) sat down with their instruments -first and foremost a synthesizer, then old, analogue but, (as Carl Craig told me)legendary drum machines, and traditional percussion such as woodblocks and chime bells, even a double-bass -- and improvised a prelude during which sounds and patterns were created, reminiscent of Brian Eno's collaboration 30 years ago with the German electronic duo Cluster, and which I should like to call Common or Garden Electronics (in contrast to cultivated Techno Soul) and which was in those days a minor German export hit following in the wake of Krautrock. Carl Craig had already had a great success in the early 1990s with a version of Manuel Göttsching's historic (if not epochal) post-Kraut/proto-house title E2E, which Moritz von Oswald and Mark Ernestus later remixed. (What a wonderful term -- Afro-Germanic -- which arose out of the afro-diasporic Underground Resistance-Zentralkomitee!) An everyday situation: one goes out of the house into the road and immediately recognizes a good friend approaching. My first thought is often to cross over the road, hopefully unnoticed, or even duck into a house entrance. And I had a similar feeling with the first appearance of the percussive, repetitive Bolero motif following the introduction. Here is the first clear indication that samples were used, and in this case precisely how the composer had intended, how he had meant them. (I had the same sort of feeling with the following track, where the trumpets are taken from Mussorgksy's Samuel Goldenberg and Schmuyle.) But I soon overcame my irritation and plunged happily into the hypnotic maelstrom of the slowly unfolding 'Movement 1.' It is certainly interesting that sampling often employs a blatant motif which is then worked on with imagination, and taken beyond recognition, which in turn often leads to something new (better, not merely borrowed). I asked Moritz if this was not rather similar to classical music, where leitmotifs are employed. He replied that that was the whole point of the exercise (creating by doing). The tonal leitmotif of the composition (except for a secondary motif on the harp) was dropped on account of it being too obvious (for fruitful re-use). The rhythmic patterns of 'Bolero' were another matter, however; for Moritz von Oswald, 'Bolero' is the very first classical composition with a rhythmic loop upon which a melody is built. Carl Craig also declared that this leitmotif was absolutely indispensable. Suddenly, the sound explodes way beyond that produced by a classical orchestra: subsonicbasses slide over the musical seabed. Movement 2: Enter the Goldenberg/Schmuyle trumpets, partly as on the historical original track, but also looped, tuned, pitched and layered. And quite clearly, for all to hear, layered on top of one another we have 'Bolero,' 'Rapsodieespagnole' and 'Pictures at an Exhibition.' The whole 'friendly takeover' of the originalBolero (particularly recognizable from the rhythmic snare patterns) now possesses a certain swiftness and is high-pitched, which leads Moritz von Oswald to conclude that the well-known, popular recordings of 'Bolero' have always been performed more slowly than the composer originally intended: this music really should have 128 beats per minute. Premiered in 1928, right in the middle of the Jazz Era and already influenced by jazz, it had a great influence on the further development of jazz and on such genial forerunners of the Third Stream as the young cornettist and pianist Bix Beiderbecke. (Frank Trumbauer turned in his seat, caught Bix's attention, and nodded at an expensively dressed, bearded man, obviously not an American, who had entered and was standing with a group of Victor officials listening to the music. 'Say, Bix, any idea who that is?' Trumbauer's smile betrayed immediately that he knew something Bix had better know too, and fast. 'Nope. Looks French to me.' 'Very astute, old boy. That's Maurice Ravel.' Ravel, whose music he all but worshipped. A key figure in the French Impressionist school, master orchestrator, harmonic innovator, composer of 'Ma Mèrel'Oye' and the 'Daphnis and Chloe' suites; this man's genius had produced the monumental orchestral setting of Mussorgsky's 'Pictures at an Exhibition.' 'Oh, my God,' said Bix. 'It really is.' 'Why don't you ask him for his autograph?' said Charlie Margulis, amused at his section mate's unconcealed awe. Bix shook his head. 'I couldn't. I mean, I wouldn't dare.' That evening, Bix, Roy Bargy and other Paul Whiteman sidemen went to hear Ravel conduct the New York Philharmonic, and later spotted the composer in a speakeasy. This time Bix was not too shy to try an approach, but advanced on his table with an almost fierce determination. 'Excuse me, sir. I'm Bix Beiderbecke. May I sit down?' Ravel, presumably too surprised to even think of a reason why not, indicated an empty chair. The two were soon engrossed in animated conversation, which began with Bix saying, quite audible several tables away, 'I love everything you've ever done.' It is not certain whether the two men saw one another again, though at least one account has Ravel visiting Bix's flat in 1931 to listen to play his own piano works. Movement 3begins with an elegant rhythm, pepped up with bright synthetic hi-hats, which is reminiscent of the Rhenish group Kraftwerk (the Afro-German heroes of Motor City), whirling trumpets join in (see Duke Ellington's 'Trumpets No End'), and then quite suddenly a sonorous bubbling sound rises up out of the musical depths and emerges on the sparkling surface -- rather like an echo of early acid house music (have you discovered the BASF-tape at the bottom right of the cover?) -- a very welcome sound for me, which is repeated several times in the next few minutes, starts to become dominant, even silencing the brass from Goldenberg and Schmuyle and -- at last -- allows the bass drum to enter. Question: where are the samples from Deutsche Grammophon? OK, there's a very soft, little woodwind motif, but the tribal slit gong is certainly not Ravel's. Nor is the fluffy orchestra from the Intro, which pops up again to prepare us for the seamless transition to track 5 of the album, 'Movement 4,' the powerful, down-to-earth club track, the single we all want to dance to. And it is not in the least strange but liberating that now, after the 25 well-thought-out minutes which have brought us here, that all references to classical music are done away with -- and we've landed in a club. I asked Carl Craig if that was planned right from the start, and he answered: It just happened. It's all very elegant now, the bubbling sound from of the depths return, something in the music definitely begins to jack, and the fleet-footed Kraftwerk-like sound is treated to a fairly drastic saw-toothed embellishment. Movement 4: to couple this out for a 12" vinyl LP would be logical. Perhaps, said Moritz, when I suggested this to him, and maybe with other remixes, which would carry on from this one (or lead elsewhere). I will definitely buy them, but then: I buy everything that Moritz von Oswald and Carl Craig have produced (and that is quite a lot) on their own labels (Basic Channel, with its various other sub-labels in Berlin, in partnership with Mark Ernestus, and Carl Craig's Planet-E in Detroit) and so I more or less have a whole series of their projects (mutual remixes) going back to 1993. Over the period of one year, Carl Craig and Moritz von Oswald visited one another in Berlin and Detroit, where they created loops and made improvisations on them (just as jazz musicians do, although Carl Craig prefers to talk of jamming and not jazz music; I don't quite agree, but then, I have always considered even his earliest, completely synthetic tracks, where he jams with himself, as jazz). They opted for certain takes, which they left unchanged, and from these, they developed and set down further tracks. If one listens carefully here, a huge arch emerges which is brought to a happy conclusion. An Interlude, filled with drones, clusters and other sonic effects, which produce a pleasant cloud of sound, prepares the way for the two last, very lengthy pieces, and it is interesting to learn that each of the final movements was mixed by just one man: Carl Craig is responsible for the opulent Movement 5, in which its classical origins are overwhelmed here and there by heroic-sounding, symphonic strikes, and one is transported to the parallel world of four-to-the-floor music; and (introduced by a cross fade) Moritz von Oswald puts his name to 'Movement 6,' which is more minimalistic, and more abstract despite prominent, almost waltz-like congas. That's quite right, said Carl, but unimportant -- it's still teamwork. --Thomas Meinecke, September 2008
IT’S A FINE LINE- WOMEN: A MAKHNOVSCHINA REPOSSESSION 12" (history clock, uk)
*On the third History Clock release, It's A Fine Line (AKA Ivan Smaggheand & Tim Paris) take us on a mesmerising trip back to late seventies Canada via the year 2525. This future-disco/proto-techno masterpiece is raw mix of primitive electronic beats, crazed vintage delays/reverbs, huge anthemic piano chords and yearning, oh-so-infectious male vocals. "Woman" has already found favour with both discerning house selectors and oddball disco jocks with DJ support from James Murphy (DFA), M.A.N.D.Y. (Get Physical), Ewan Pearson, Cosmo, Damon Martin (Disco Bloodbath) and many more. Also features an instrumental dub version.
V/A- SPRIGS OF TIME: 78S FROM THE EMI ARCHIVE 2LP (honest jon’s, uk)
V/A- SPRIGS OF TIME: 78S FROM THE EMI ARCHIVE CD (honest jon’s, uk)
*This is the third in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. Honest Jon's has spent the last two years delving through more than 150,000 78 records in the temperature-controlled steel vaults of EMI's Archive in Hayes, Middlesex. Following studious compilations of West African and Iraqi music of the 1920s, the latest release in the Honest Jon's Hayes Archive series is a sparkling late-summer lucky dip, Sprigs Of Time: 78s From The EMI Archive. An eccentric survey of the Hayes shelves, Sprigs Of Time is thirty tracks recorded between 1903 and 1957, everywhere from England (Percy Grainger's recording of the title song, sung by Joseph Taylor in 1908) to Japan (the bewilderingly beautiful "Seigaiha," by the Japanese Imperial Palace Band, five years earlier). Organ rolls from Georgia run alongside Tamils impersonating motorized transport, and rumba from Beirut; '40s fado sits next to the songs of Bengali beggars. As with the other Hayes releases, the tracks have been restored at Abbey Road and are beautifully presented, with extensive contemporary photographs included. There are recognizable names (Joseph Taylor, the incomparable Fairuz, Mighty Sparrow and an uncredited Rubén González, singing lead vocals on "Rumba Negra") and extraordinary oddities (Vengopal Chari's rather unfunny "Laughing" and the peculiarly affecting hand bells of "Gas All Clear"). Taken out of the library and put back on the turntable, every track here is remarkable; every one worth the saving.
V/A- OZ DAYS LIVE 2CD (oz, na)
*beautiful new cd reissue of the super-rare 1973 2lp set commemorating 'The 'Oz Days' benefit festival for the owner of Tokyo's legendary Oz Rock Cafe, which had been shut down after one too many drug busts'. Authentic packaging, with hand-stamped outer bag and gatefold insert. The Les Rallizes Denudes and Taj Mahal Travellers sides have been briefly reissued before -- here's the complete picture! Other artists featured here: Miyako Ochi, Acid Seven and Minami Masato.
HARD ROCK AND PSYCHEDELIC
MOUNTAINS- MOUNTAINS, MOUNTAINS, MOUNTAINS LP (catsup plate, usa)
*Mountains, the duo of Brendon Anderegg and Koen Holtkamp, have been making some of the most beautifully epic music of the past four years. The two blend acoustic instrumentation with field recordings, subtle electronics and live sampling to create something otherworldly. You've probably heard a lot of people running acoustic instruments through their computers and are probably pretty bored with that whole concept at this point. The last thing Catsup Plate would foist on the world is another twee laptop-folk project. Mountains is an altogether different entity. The Wire magazine described their music as 'infinite sheets of grainy sound build and renew themselves to immensely pleasing effect,' and that pretty much sums it up for us here at C Plate. Mountains Mountains Mountains, though it feels of a piece, is actually a compilation of sorts. The whole of side B ('Millions Of Time' and 'Hive') constitutes the entirety of a 3" CD-R the band put together for a month-long tour towards the end of 2005. And interestingly, 'The Whale Years,' the album's first track, was improvised in a hotel room in southern Georgia on that same tour (if only all improvisations sounded so beautiful and composed!). 'Nest' was recorded in NYC in late 2007. Those who are familiar with Mountains will notice a more muscular sound on Mountains Mountains Mountains. Much of 'The Whale Years' is built around a phased guitar line that, through manipulation of an unknown sort, takes on an overwhelming celestial grandeur. 'Nest' finds Mountains returning to a fingerpicked acoustic guitar line, but with a ringing urgency that eventually falls away as the side runs out. 'Millions Of Time' is based on a motorik-style repeating sample, upon which the band hangs huge washes of guitar that recall something like the dissonant melodies of early '90s shoegaze or the recent work of Axolotl. And the album ends with 'Hive,' which may be the most forceful piece they have recorded. The first two and a half minutes begin with a ringing cloud of layered guitar picking that dies away momentarily, at which point a howl of dissonance and guitar wail envelops the song, eventually pushing the piece to a monumental drone that is totally unexpected and amazing. Edition of 500 LP-only copies in two color silkscreened sleeves.
BROTHER JT 3- JELLY ROLL GOSPEL LP (drag city, usa)
*Brother JT3 is back -- get ready to shake! Shake! Shake! Ever since the 'acid bubble-punk' days of The Original Sins, JT has been a leader in the field of guitar-rock that's good for the soul. Jelly Roll Gospel is the latest jam in the line of house-party blues discs that Brother JT has released on Drag City over the past few years: the thick guitar jams of Way To Go, the acoustic-flavored Spirituals and the roots-rock Hang In There Baby are but a prelude to this latest. The constant for Brother JT3 over the years is a desire to lift you the listener up; to share reflections from a secret life that, for some, constitutes religion (we prefer the term 'spirituality' -- but we're not here to judge -- not!) and to deliver the message in rhythmic but exotic rock n' roll that has the basic necessities to move us -- spiritually, of course, but more to the point -- physically, dancefloor style. Jelly Roll Gospel is no exception to the rule. From the first groove of this long-player, the rhythms are live and relentless, making JT's new soul anthems burst energetically from the speakers in full-spectrum stereo sound. Comprised of bassist Art DiFuria (Photon Band), drummer Jamie Knerr (Psyclone Rangers), and JT, the Brother JT3 deliver their trademark blues-and-roll whomp, shaking everything in sight to keep the beat going -- while weaving in unexpected touches, such as a dub reggae bounce, at several mind-blowing moments. The songs are all finished pieces from the darkly whimsical mind of Brother JT. Whether reacting to the buoyancy of '70s Afro-pop ('Lift You Up'), imagining self-penned songs played on the radio if he were the last man on Earth ('Ribbon Driver'), or examining the darkness and light within and without him ('Bad Vibrations,' 'Do Ya Good,' 'Everything's Alive'), Brother JT's music is delivered with trademark high-spirits and otherworldly flashes of color. In an effort to keep it live and loose, Jelly Roll Gospel was recorded 'at home,' (at Dan's House Studio and JT's 'living room' set-up in Bethlehem, PA), where spontaneous and relaxed vibes prevailed (and the moonshine didn't hurt, either). They're prevailing still -- just drop the needle and you'll see.
RTX- JJ GOT LIVE RATX LP (drag city, usa)
*You're cruisin' down interstate X with your hair thrashin' through the t-top . . . all of a sudden JJ GOT LIVE RaTX hits the box like nothing you've heard! Skyscraping power chords . . .'Rainbow High!' Arcing from the walls of solid concrete blocks . . . huge hooks that would twist the biggest shark in the pond . . . you gotta get the record, touch it . . . and lick it up! HEY, Kid, We'll take you to Venice Beach. Body-builders stepping on rats and all that. Roller-bladers. SHIT! Push yourself past the break and ride the wave through the crash. Pounding and pounding. It gets all inside your head. Totally hit me heavy. Like, go big or go home. I mean, I went to high school -- for like a minute! What I learned is that it ain't for me. Since, it's been nothing but tasty waves and the kindness. People talking about it all like it's the end, like we're moving downward. Spirals and shit. But that's not my reality. Some say we do it different, and they're on target. See, we're on cruise control, lookin' straight ahead, knee-highs up on the dash board. Still smokin' indoors. A parallel paradise. Copper-toned hulks and honeys everywhere, down by the pier, chillaxin'. New Wave in California means metallic skies. A luxury everyone can afford. Yeah, JJ GOT LIVE RaTX is the white-hot luxury sound for sure. Jennifer's pipes are smokin' and she's offering no mercy at its finest. The songs got flashy virtuoso drums, full-wave synth sweeps and shred guitar that will knock you on your ass and leave you slobbering for more. And they got more. JJ GOT LIVE RaTX -- you should get some too.
PUNK AND POST-PUNK
THE CLEAN- COMPILATION LP (little axe, usa)
*new domestic reissue of this amazing set original available on flying nun… Compilation collects many of the greatest tracks by New Zealand legends The Clean, including songs from their first single and first two EPs. Very catchy pop with the energy and rawness of the best punk rock combined with a strong psychedelic feel. An amazing collection by one of the best bands of all time!
ANIMALS+MEN- NEVER BOUGHT NEVER SOLD: SINGLES + DEMOS 1979-83 LP (mississippi, usa)
*Animals + Men -- named after a song by Adam and the Ants -- started life around the winter of 1978-1979 when Susan Wells took over vocal duties in what was a three piece called Psychotic Reaction. Based in Frome Somerset, their first release Don't Misbehave in the New Age (1980) was an indie hit. When the band split in '81, Susan and Ralph formed the Terraplanes. A & M/Terraplanes released three vinyl 45s. A few years ago, demos by the band surfaced on the Messthetics/Hyped 2 Death label. Recently, the band have reformed and performed the odd gig and are releasing an EP of new songs soon on Convulsive Records. Mississippi Records is proud to be the first to release an entire LP containing the three 45s and early demos, all recorded between 1979-1983. For fans of early UK DIY.
DNA- DNA ON DNA 2LP (no more records, usa)
*Previously released on CD by No More Records, now issued on a limited edition 2LP featuring newly-discovered songs exclusive to this LP: "Pompeii," "Shrinking Thing," "Drinking Water," plus two encores from DNA's final performance at CBGB's. Definitive collection of studio and live recordings by New York's seminal no wave band DNA. Surviving two line-ups over a brief period of four years; this highly influential, strikingly original and extremely under-recorded band left a huge void in its wake. Formed in 1978, Brazilian-raised singer/guitarist Arto Lindsay hastily assembled an international trio of non-musicians. Robin Crutchfield played keyboard and Japan's Ikue Mori played drums. DNA played their first gig within weeks and recorded their first 7" shortly afterwards. The ear of Brian Eno was quickly caught, recording them for the infamous No New York compilation alongside James Chance, Mars, and Teenage Jesus & The Jerks. Before No New York was released, Robin left the band after a total tenure of nine months. Bassist Tim Wright had just left Pere Ubu, relocated to NY and quickly joined DNA. With a new face, a new instrument, and a new sound, DNA recorded their classic 9-minute EP A Taste Of DNA. DNA toured the States and Europe, bringing their explosive live show to a wider audience. DNA only released 12 songs during its lifetime, and another 3 shortly afterwards on a European compilation. Their impact was far and wide-reaching. Many musicians have sited DNA as a main influence including Thurston Moore of Sonic Youth and the band Blonde Redhead, who appropriated their name from a DNA song title. This LP compiles all of the studio and many choice live recordings. Of particular interest are the original line-up's "early versions" of "Detached," "5:30" and "Low" (which is closely related to "A New Low"). The unreleased studio tracks "Grapefruit," "Police Chase" and "Young Teenagers Talk Sex" are heard here for the first time, as well as live versions of the unreleased songs "Nearing" and "Surrender." Featuring exclusive liner notes from Byron Coley, Jason Gross and Glenn O'Brien alongside many unseen photos and flyers housed in a gatefold sleeve.
V/A- DELTA DANDIES: DANCE BANDS IN NIGERIA 1936-1941 CD (savannaphone, uk)
*shop favorite restocked… Precious, magical glimpses of a buried tradition, already a century old by this time, when the orchestras typically supplemented guitars, mandolins and percussion with fifes and whatever could stand in for brass. No Fela, no high life without this joyful, open, fertile music, devotedly recovered and handsomely presented again by Savannaphone, with full translations, on a death-defying budget. Ambrose Campbell in the house!
BANDA LOS HIJOS DE LA NIÑA LUZ- DEJALE CORRE 7" (soundway, uk)
*Colombian multi-instrumentalist Lisandro Meza has been a key figure of Colombian popular music since 1961, first as a member of supergroup Los Corraleros de Majagual, and then in Banda Los Hijos de la Niña Luz -- the late-'70s band composed of his children and his wife. They played their own style of brass band street music that has its roots in the carnival tradition of Colombia. "Dejala Corre" (1980) is a huge favorite along the Caribbean coast of Colombia and in the interior, too. The flip side features an edit of the final segment of a long medley from a 1980 Los Hijos LP on legendary Colombian label Discos Fuentes. The two pieces featured are "El Sapo" which runs into a unique big band version of Rod Stewart's "Do You Think I'm Sexy (Crees Que Soy Sexy)." This is a tropical dancefloor double-sided bomb and strictly limited to 1000 copies. The record comes in a unique bespoke black printed sleeve on textured high quality manilla card.
V/A- STREETS OF LHASA CD (sublime frequencies, usa)
*first of a bunch of sublime frequencies back catalog titles to be repressed/restocked, more to come over the next couple of weeks… Streets of Lhasa lifts us to the high plateau of Tibet where anonymous street balladeers sell folk songs for a living and ghostly voices drift in an ambience of time forgotten. Children, birds, trains, prayers and a traditional temple activity called 'bian jing' (where monks discourse about scripture and punctuate their points by clapping loudly) provide the backdrop for this disc with the folk music of the street taking center stage. These enterprising musicians sing passionate songs and play instruments like the 'Erhu' and the 'San Xian'. The recordings are as clear as the strings of these banjo and violin-like instruments scathed by leather fingers of the high, thin air. Tibet has been under Chinese control for nearly half a century and their leader, The Dalai Lama, resides in exile to the south in Dharamsala India. Buddhism remains of primary importance here and chants of song and prayer are heard throughout the plateau. This ornamental carnival of sound was recorded by Zhang Jian (of the Beijing-based sound collective 'fm3') on the streets of Lhasa, ZhaDa and Shigatse in August 2003. Liner notes written by Steve Barker (ON THE WIRE/BBC).
DUBSTEP AND FUTURE DUB
COTTI/KING SOLY- TRUTH HURTS 12" (soul jazz, uk)
*One of four killer dubstep 12"s (two of which are by Cotti) 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, Sensi Dub), and his appearances on Soul Jazz Records' seminal Box of Dub albums have made him one of the most in-demand producers of the moment. These two new exclusive cuts are heavy, two-step-digi-steppas, 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.
COTTI VS CHEFAL- EAT DIRT 12" (soul jazz, uk)
*Second of four killer dubstep 12"s (two of which are by Cotti) 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, Sensi Dub), his appearances on Soul Jazz Records' seminal Box of Dub albums have made him one of most in-demand producers of the moment. This time joined by Chefal, one of the most-important backstage names in dubstep -- engineer, DJ, record cutter making his debut with this some pure, unadulterated rough dubstep/two-step single. Killer! Heavy club and radio support from Digital Mystikz, Benga, Skream, Mary Anne Hobbs and more.
KALBATA FEAT CLAPPER PRIEST- SOLUTION 12" (soul jazz, uk)
*One of four new dubstep 12"s released on Soul Jazz Records on the same day. Heavyweight dubstep dancehall digital bomb featuring original U.K. dancehall MC Clapper Priest! Following on from Kalbata's earlier first single on Soul Jazz featuring Warrior Queen comes this seriously heavyweight, moody dubstep/dancehall cut featuring the amazing vocals of legendary first-generation U.K. MC Clapper Priest on two killer tracks ? 'Solution' and 'Saxon Londinium.' This single is definitely one of the heaviest tracks you are likely to hear this year! As part of the fast expanding global family of dubstep, Kalbata is 26 year-old Argentinian-born producer/DJ Ariel Tagar who now lives and works between Tel Aviv and London. Kalbata has many releases to his name and this is his second release on Soul Jazz Records.
RAMADANMAN- CORE/DAYRIDER 12" (soul jazz, uk)
*One of four killer dubstep 12"s released on the same day on Soul Jazz Records. This 12" features two exclusive new killer tracks by Ramadanman, one of the shining lights in the new generation of dubstep artists whose releases on Soul Jazz Records' seminal Box of Dub, Bare Dubs, 2nd Drop Records and his own Hessle Audio have shown him to be one of the most-sophisticated producers and artists in dubstep today. These two new tracks continue to push dubstep in new directions with hints of rave, ambient and electronica throughout. Recommended! 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
UNKNOWN- BASTARD: A MOUNTAIN OF ONE RE-WORK 12" (WHITE LABEL, UK)
*shop favorite restocked… A Mountain of One's Emotional Rescue-era Rolling Stones-ey(!) edit of 70's rock track 'Bastard' by mott the hoople. limited edition one sided etched vinyl. Get this while you can!
DROIDS- THE FORCE: SERGE SANTIAGO EDITS 12" (arcobaleno, uk)
*killer mid 70s french space disco in a smashing 11 min. Serge Santiago edit!
V/A- BALTIMORE CLUB CLASSICS VOL.1 12" (baltimore club classics, usa)
*restocked… Bmore is hot. Between the cult rise of The Wire, labels like Money Studies and Flamin Hotz and DJs like Diplo and Low Budget banging these tracks around the world Bmore seems to be everywhere. The question is, where are the classics on wax? Baltimore Club Classics was created to help fill the void. The first installment comes courtesy of Dukeyman with six of his most famous and sought after productions on one slice of wax!
V/A- BALTIMORE CLUB CLASSICS VOL.2 12" (baltimore club classics, usa)
*restocked… Number two in the series retracing the Baltimore 'club' sound brings you six more tastes from the vast archives of Ron 'Dukeyman' Hall, three featuring Theo, the vocalist best known for his appearance on the club classic "Shorty You Phat,” which appears here. Dukeyman is one of the original OG masters of the club game, along with Scottie B, DJ Technics, Rod Lee, and Diamond K.
V/A- BALTIMORE CLUB CLASSICS VOL.3 12" (baltimore club classics, usa)
*restocked… DJ Technics drops six of his most in demand Bmore mashes that look towards Motown and 60's black american pop for *ahem* inspiration... Diana Ross & the Supremes, the Marvelettes, you get the idea!
V/A- BALTIMORE CLUB CLASSICS VOL.4 12" (baltimore club classics, usa)
*restocked… Six more Bmore classics from the vaults. Check the web, these tracks appear far and wide on tracklists and blogs from Ayers, IHeartComix and many more. These are cut from Technics' personal archives and we guarantee perfect party action whether you bang these in the club, or the bedroom.
V/A- BALTIMORE CLUB CLASSICS VOL.5 12" (baltimore club classics, usa)
*four more bmore classics from the vaults from one of the hardest hustlin’ producers in town, host of the Diamond K show, Da Horsemen, Pimphouse Records, and the documentary “Club Music Is The Future.” DJ Diamond K's history with Baltimore club music goes way back over a decade, when he was making tracks for Frank Ski and Miss Tony, and he's still doing it now with his own label, High Rolla Records.
GONNO- I DON'T NEED COMPETION 12" (beyond, uk)
*Another unknown, unexpected, magic and mystical white label series. Beyond is an interstellar trip to Chicago/Detroit/Chicago by (that's all we know) a new young Japanese mastermind called Gonno and remixed by none less than Irish techno hip priest Donnacha Costello. The four tracks are deep intense and kicking, reminiscent to early Ront Trent, Chez Damier and Nu Groove with a hint of Ivan Iacobucci or Caucasian Boy mixed in but innovative and not a rip off. Beyond is modern class of 2008 deep house as we want it -- open and airy, produced but with thick drums, net bass and slightly pitched dusted atmospherics that bring mind and body together as one heavy dancing unit. Beyond galore!
DJ HARVEY- LOVE HOTEL EP 12" (black cock, uk)
*Very limited repress of this rare Dj Harvey edits Ep on Black Cock. Track A is a re-edit of The Mighty Clouds Of Joy - Everything Is Love on ABC Records.
DJ HARVEY- LOVE HOTEL EP2 12" (black cock, uk)
*Very limited repress of this rare Dj Harvey edits Ep on Black Cock. Track A is a re-edit of Paul Mauriat - Love Is Still Blue. Track B is a re-edit of the Silver Apples - Lovefingers.
DJ HARVEY- FROG SCENE 12" (black cock, uk)
*Very limited repress of this rare Dj Harvey edits Ep on Black Cock. Side L is a re-edit of Mother's Finest - Dis Go Dis Way, Dis Go Dat Way.
EXTRAWELT- SCHÖNE NEUE EXTRAWELT 2LP (cocoon, germany)
*This is the debut full-length by Hamburg's Arne Schaffhausen and Wayan Raabe aka Extrawelt. The duo describe the aesthetic of Schöne Neue Extrawelt thusly: "It's all about hooking up our music to the emotional world of electronic music at the beginning of the '90s, however, without falling for nostalgic references. We don't want to do cowardly zeitgeist techno, we want to have the heart to dare big sounds and more melodies. Sunrise scenarios, energy, revolution and kaput-ness, all these are parts of the Extrawelt." Extrawelt have been unmistakably imprinting the last three years' club sound with widely-noticed releases on Border Community (Sooper Track), Traum Schallplatten (Doch Doch) and Cocoon Recordings (Titelheld) as well as with remixes for Gregor Tresher, Minilogue and Alexander Kowalski. Work on this record began more than two years ago: "The initial idea was to present an album covering all styles of electronic music between ambient, breakbeats and techno. When we had 25 tracks for the album ready, we had to realize that this approach did not work for us. Insofar, we finally decided to use the 4/4 bass drum in all tracks except in the little intermezzo 'Kurt Curtain.' We have tested all tracks live over the last three months and constantly re-interpreted them. So, the 'danceability' is clearly our focus ... but our intention was definitely not to deliver an album full of superficial peak-time hits." These 12 tracks represent a pleasurable "in-betweenness," the organic development of hypnotically compressed dance music that is more than just minimal techno, reduced trance or electronic circa Warp-era. From the richly decorated musical clock intro of "One Tree Hill" to the stereo singing bowl of "Trümmerfeld," to the Asian-sounding creaking of "Daten Raten," Extrawelt celebrate a vision of futuristic melancholy with organically detailed richness that is permanently in motion, but is nevertheless well-balanced.
TIMO MAAS- SUBTELLITE 12” (cocoon, germany)
*DJ Timo Maas has made remixes for Depeche Mode, Madonna, Kelis, etc., and has a lot of pop in his veins. Together with his studio partner Sante Pucello, Maas sets new standards in the art of adrenaline release within the clubbing underground. "Subtellite" shines with a deep hypnotic bass rotor and ample percussion, picking up some small organ and a Flamenco guitar en route. When the bass drum returns after the breaks, there is no holding back anymore.
SEBBO/MORITZ VON OSWALD- WATAMU BEACH 12" (desolat, germany)
*restocked… A very interesting little proposition here, what would Quadrant's classic Q 1.1 sound like if mixed with a sweet square bassline and semi religious chanting? Well, a bit like this killer effort from the fantastically named Sebbo aka Sebastian Suckfüll for Locodice and Martin Buttrich's Desolat imprint. Sebbo's original version of 'watamu beach' is a vital slice of dancefloor alchemy, marrying some classic dancefloor elements into a thoroughly enjoyable whole, while on the flip, the godfather of deeper dub house, Moritz Von Oswald gives us a masterclass is suave dancefloor perfection. Von Oswalds remix is predictably something to behold, taking a similarly opiated option as his rework of 2raumwohnung's 'ich bin der regen' or Tony Allen's 'Oye', he succinctly blends in a distinct Afro-percussive flavour to the rhythm while creating an opulent and palacial atmosphere, populated with gently rising currents of the warmest analog synth pads and heart rending chord changes in his inimitable style. Awesome. -boomkat
LOW MOTION DISCO- THE LOW MURDERER IS OUT AT NIGHT 12” (eskimo, belgium)
*Swiss act Low Motion Disco present The Low Murderer Is Out At Night. UK-based Mark E delivers a hypnotic remix that reflects his Detroit Beatdown influences and midtempo boogie inclination. St. Petersburg's Andrei Zakharov (aka AN-2) goes down a more disco-tinged route for his remix. His version of "The Low Murderer Is Out At Night" brings some more funk to the proceedings and provides another new shade to this varied release.
KLEIN & M.B.O.- DIRTY TALK: GREG WILSON EDIT 12" (flexx, belgium)
*shop favorite restocked… Arguably one of the pioneering records that linked disco to what is known nowadays as house music. We've included the original vocal mix - for the first time on a 12" (we might be one of the few who really love the vocals), the previously unreleased USA/European Connection Instrumental Mix - a variation on it's most popular Usa connection mix. Plus an exclusive version by legendary DJ and edit don Greg Wilson. Greg Wilson says: " 'Dirty Talk' was a huge track for me on the Electro-Funk scene back in '82. I was the first DJ to start playing this in the black clubs as an import on Zanza and it soon became the biggest track at my nights at Legend in Manchester and Wigan Pier (it was also quite controversial, as the purists on the scene thought that this shouldn't be played). The Hacienda had only just opened and the DJ there, Hewan Clarke, picked up on it - it was as a result of hearing Hewan play it that New Order borrowed the record from him and used it as one of the templates for 'Blue Monday', which they were working on at the time.” Essential classic.
V/A- LES EDITS DU GOLEM 6 12” (golem, france)
*The Golem is off on another hot and sweat-drenched musical excursion, this time with a.l-t.'s (Alexis Le-Tan of Permanent Vacation fame) Summer outtings. Get ready for a hedonistic trip around the world: balearic disco galore at the 'Eden Rock' in antibes, tropical afro disco at 'La Toubana' in Guadeloupe and finally some Pakistani infused reggae disco at 'Islamabad Serena'.
REBOOT- ASSIGN THE SOURCE 12" (motivbank, uk)
*New house label with a superb release by Reboot!
MARGARET DYGAS- SEE YOU AROUND 12" (non standard productions, germany)
*See You Around is the second vinyl release by Margaret Dygas and first on Non Standard Productions. This 12" is a warm combination of healthy and mellow yet solid beats combined with rough, shredded guitars. You'll be hearing round edges as much as square, bubbled sounds and psychedelic synths traveling through out both tracks. Tobias Freund was responsible for the production and the additional analog mixdown treatments. All in all, a record that follows the idea of Non Standard Productions.
ODD MACHINE- WE BROUGHT OUR FRIENDS 12" (non standard productions, germany)
*restocked, but out of print from the label… ricardo villalobos and tobias freund (of nsi) production. extended tripping modern house tracks!
MFP- MFP CD (non standard productions, germany)
*restocked… electronic drones by mfp aka tobias aka (half of) NSI.
SASCHA DIVE- DEEPEST AMERICA: MOODYMANN REMIX 12” (ornaments, germany)
*Next strong limited vinyl on this mysterious label includes a moodymann remix… pressed on clear, black-swirled vinyl.
MARKO FURSTENBERG- SELECTED REMIXES 12” (ornaments, germany)
*restocked… ornaments wants to publish special collector's items in a strong limited vinyl only series with a really personal vibe. The first record is from Marko Fürstenberg (A.R.T.LESS / Thinner) and he presents 3 unpublished remixes of nice dubby soundtracks for the 21 century which are perfect for the open air season. Be fast! Only a few hundred copies! Pressed on clear, black marbled vinyl.
LOW LOW- UNTITLED 12" (same soul different body, usa) 9.98usd/6.21gbp/7.80eur/971jpy (approx)
*Low Low is a source of the unexpected: robotic and dark electro disco meets leftfield Chicago house and Detroit techno, his sound is brought to life using this heritage and it’s ancient techniques. We Say.. just check the b side.. thats worth your money!
HIEROGLYPHIC BEING- THE SECRET LIFE OF WATER 12" (same soul different body, usa) 9.98usd/6.21gbp/7.80eur/971jpy (approx)
*restocked… Excellent basic Chicago rhythm tracks. Some thight grooving cuts here that bring back the feeling of old analogue house tracks.
L.S.B. EDITS- SUPER DISCOTECA VOL.2 12" (superdiscoteca, spain) 13.98usd/8.70gbp/10.93eur/1360jpy (approx)
*L.S.B. Edits return for the eagerly awaited second installment of peaktime dancefloor edits. First up is a rework of Italian producer Toni Esposito's uber rare "Je-Na," a midtempo percussive monster already tried and tested by the L.S.B. team in the last few months...a version that works at any moment of the night! On the flip, "NY Attitude" is an extended and beefed up version of a little known Chic groover from 1980, another seriously heavyweight midtempo cut, and big favourite of legendary Parisian radio station Nova, back in the day.
PH EDITS- STANDING IN THE RAIN/SHOUT 12" (superdiscoteca, spain) 13.98usd/8.70gbp/10.93eur/1360jpy (approx)
*restocked… Delivering top quality dancefloor reworks cut for better quality and maximum disco use, on this first 12inch of the series is a killer disco rework, an instrumental edit of Don Rays 1978 cut 'Standing In The Rain', plus on the flip some old school acid house, a re edit of the classic 87 Adonis production Jack Frost and The Circle Jerks 'Shout'.
MAGAZINES AND BOOKS
BIXOBAL- #5 MAGAZINE (bixobal, usa)
*The No-Neck Blues Band's Dave Nuss recalls his time with The Source Family which led to the first Yahowa 13 performance in New York City and their new LP. An extensive interview with reformed Vancouver noise band Tunnel Canary by Allan MacInnis. A remembrance of Noggin violin player Michael Griffen by his friend Aaron Gorseth. A feature on the Belgian group Onde featuring former members of Noise-Maker's Fifes. A feature on the new label Assophon, home to The Sea Donkeys, Spider Trio and Factums. Eric Lanzillotta's reviews of vinyl, compacts discs, and books, both new and old. Patrick Marley's column Nickels and Dimes.
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