Rainforest Spiritual Enslavement – Water Witches 8xCS BOX SET

Edition of 200 copies, 5 hours of music, Deluxe Box Set including 9 albums housed in a custom cartridge clamshell, including a download card for the full set. Pro-Duped tapes, on-body printing and fully remastered by Paul Corley in 2017.

Price: $100.00

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Actress – AZD (Deluxe) LP

Delux version – 2x clear vinyl in a spined sleeve housed within a chrome silver outer bag with AZD title screen-printed on top.

Actress, real name Darren Jordan Cunningham, known to friends as DAZ, returns with a new album, now on Ninja Tune and a new music system called “AZD” (pronounced “Azid”), a chrome aspect journey into a parallel world. An artist who has always preferred to make music than to talk about it, in “AZD” he has achieved another remarkable landmark, one which is as resistant to interpretation as it is demanding of it. Following on from his previous albums, R.I.P, Splazsh and Hazyville, an epilogue poem attached to the press release for Ghettoville was construed by media, commentators and spectators that Cunningham had retired. This led him to conceptualise this mass of conclusion as the key to ‘Giving power back to identity.’

So a few pointers, or possible ways to think about “AZD”. The album is themed around chrome – both as a reflective surface to see the self in, and as something that carves luminous voids out of any colour and fine focuses white and black representing the perfect metaphor for the bleakness of life in the Metropolis as suggested by Anish Kapoors Cloud Gate.

Another way to approach would be through the art of James Hampton and Rammellzee (who inspired “CYN,” which Cunningham also sees as a vision of New York in reverse…) – both of whom, though of different generations of the African-American slave diaspora, created art through “Sourcing castaway materials from their environment and reinterprating them into absolute majesty given from the fourth dimension.” There is also the career-long influence of the Detroit techno pioneers, something which becomes clear on this album “there is a contrast in the type of glow or reflection”.

Alternatively, you could write your PhD thesis on Jung’s Shadow Theory and AZD: “Lots of ideas come from dreams, this isn’t new, but sometimes the conscious mind starts to meld into the universal consciousness through constellation tunnelling.” If that sounds too taxing then you could always fall back on Star Wars and, in particular, the Death Star: “It has a dark dystopian backdrop, with highly sophisticated technology, but it is fading into the ether, still holding on and emitting a powerful energy. The music remaking the embers, binding them together and pulling them apart again.”

Alternatively, just listen. That “glow” Cunningham talks about makes this in some ways more immediate than previous Actress releases. Take lead single, “X22RME” (pronounced “Extreme”) which elegantly plays between the lines of Oriental classic rave and Balinese warehouse Techno machined in a Rotherhithe lock up welding the grooves into a seamless cracked joint.

At the other end of the spectrum is “Faure in Chrome,” a byproduct or development from his collaboration with the London Contemporary Orchestra, in which he “repatterns” aspect of Faure’s Requiem into a piece which sounds like the very institution of classical music being encased in electronic ice and scanned through a high frequency bandwidth. In between are gems like “Runner,” a personal re-soundtracking of Blade Runner “its from the deleted Fade Runner scene where AZD in a Peckham Cafe realises his barber has over the years etched a faded scroll into his head using early 80s African synthpop as a vexing serum“, or “Falling Rizlas,” an alienated music-box ballad. It’s a remarkable piece of work, that harks back both to Actress’ previous productions and to earlier iterations of the (broadly conceived) “techno” project without being beholden to anything but Cunningham’s forward-facing, individual and disembodied vision. 

The simplest you could say about “AZD” is that it’s art – the unique creation of a unique mind. There will be few more distinctive, brilliant or visionary suites of music released in 2017. Call him what you will, this is the year that Darren ‘Daz’ Cunningham – aka Actress, aka AZD – asserts more clearly than ever before his complete independence.

Price: $35.00

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Actress – AZD LP

Actress, real name Darren Jordan Cunningham, known to friends as DAZ, returns with a new album, now on Ninja Tune and a new music system called “AZD” (pronounced “Azid”), a chrome aspect journey into a parallel world. An artist who has always preferred to make music than to talk about it, in “AZD” he has achieved another remarkable landmark, one which is as resistant to interpretation as it is demanding of it. Following on from his previous albums, R.I.P, Splazsh and Hazyville, an epilogue poem attached to the press release for Ghettoville was construed by media, commentators and spectators that Cunningham had retired. This led him to conceptualise this mass of conclusion as the key to ‘Giving power back to identity.’

So a few pointers, or possible ways to think about “AZD”. The album is themed around chrome – both as a reflective surface to see the self in, and as something that carves luminous voids out of any colour and fine focuses white and black representing the perfect metaphor for the bleakness of life in the Metropolis as suggested by Anish Kapoors Cloud Gate.

Another way to approach would be through the art of James Hampton and Rammellzee (who inspired “CYN,” which Cunningham also sees as a vision of New York in reverse…) – both of whom, though of different generations of the African-American slave diaspora, created art through “Sourcing castaway materials from their environment and reinterprating them into absolute majesty given from the fourth dimension.” There is also the career-long influence of the Detroit techno pioneers, something which becomes clear on this album “there is a contrast in the type of glow or reflection”.

Alternatively, you could write your PhD thesis on Jung’s Shadow Theory and AZD: “Lots of ideas come from dreams, this isn’t new, but sometimes the conscious mind starts to meld into the universal consciousness through constellation tunnelling.” If that sounds too taxing then you could always fall back on Star Wars and, in particular, the Death Star: “It has a dark dystopian backdrop, with highly sophisticated technology, but it is fading into the ether, still holding on and emitting a powerful energy. The music remaking the embers, binding them together and pulling them apart again.”

Alternatively, just listen. That “glow” Cunningham talks about makes this in some ways more immediate than previous Actress releases. Take lead single, “X22RME” (pronounced “Extreme”) which elegantly plays between the lines of Oriental classic rave and Balinese warehouse Techno machined in a Rotherhithe lock up welding the grooves into a seamless cracked joint.

At the other end of the spectrum is “Faure in Chrome,” a byproduct or development from his collaboration with the London Contemporary Orchestra, in which he “repatterns” aspect of Faure’s Requiem into a piece which sounds like the very institution of classical music being encased in electronic ice and scanned through a high frequency bandwidth. In between are gems like “Runner,” a personal re-soundtracking of Blade Runner “its from the deleted Fade Runner scene where AZD in a Peckham Cafe realises his barber has over the years etched a faded scroll into his head using early 80s African synthpop as a vexing serum“, or “Falling Rizlas,” an alienated music-box ballad. It’s a remarkable piece of work, that harks back both to Actress’ previous productions and to earlier iterations of the (broadly conceived) “techno” project without being beholden to anything but Cunningham’s forward-facing, individual and disembodied vision. 

The simplest you could say about “AZD” is that it’s art – the unique creation of a unique mind. There will be few more distinctive, brilliant or visionary suites of music released in 2017. Call him what you will, this is the year that Darren ‘Daz’ Cunningham – aka Actress, aka AZD – asserts more clearly than ever before his complete independence.

Price: $28.00

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Jock Club – Morphism EP

New Ascetic House 12″

Price: $18.00

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Varg / Marshstepper – 051515 CS

051515 by Varg & Marshstepper

Side A: Varg Live, 45 minutes (mono)
Side B: Marshstepper Live, 23 minutes (stereo)

Cobalt tape loaded into clear, direct imprint shells, shrinkwrapped, numbered, limited to 200.

Price: $10.00

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Moon Wiring Club – Exit Pantomime Control LP

On occasion of their 10th birthday, Moon Wiring Club boots up the PS2/time machine to revisit key ideas and themes of the series so far; gathering the ghosts for an eldritch dramaturgy of anachronistic hip hop and ether dream atmospheres inspired by subversive, experimental ‘70s theatre, all taking the form of a good ol’ Panto (surreal popular comedies/tragedies beloved of olde england) held at The Clinksell PlayHouse.

You might have guessed already, but Exit Pantomime Control sounds little like any panto that anyone outside of Clinksell (perhaps Burnley, too) has ever seen or heard. Written by Mr Paris Green and Dr Lettow-Vorbeck in the Curtain Draped Studio, 1896-1976, it unfurls a frayed and abstract narrative helmed in loping hip hop loops, which are practically the only thing nailed down on its weightless stage where voices and melodies bob and drift according to MWC’s cryptic direction. 

The Motley Supplement kicks the evening off with everything in ‘easy listening’ mode, establishing a somnambulant pace and smoky atmosphere that perfuses the whole play, from what sounds like a lo-fi take on Arpanet’s percolated chorales sung by the Swingle Singers in Temporarily Engaged, to a frosting of steampunk-like FX in the eerie set design of Marvellous King Nonsense.

By this point you’ve probably imagined outlandish outfits and wigs for the intermittent characters, and, after a short intermission for the ghosts to take a leak, the play recommences with the propulsive momentum of Harlequin Escapes Audience, changing scene to a medieval mock-up of harpsichords and crows in 7 O’Clock In The Park, and dialling up the tension with a flurry of dancing Ghosts All Around, and leaving the play perfectly unresolved with the decaying curtain drop of Unsurpassed Novelties.

Beyond the mind of lucky Ian Hodgson, music like this doesn’t really exist, but thanks to his precious imagination we have some glimpse of a beautifully stubborn world where the usual rules don’t apply and anything can happen, provided it’s pretty weird and leaves you feeling strange; always a recommended experience!

Price: $30.00

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The Other People Place – Lifestyles of the Laptop Cafe LP

An acclaimed classic in the Warp catalogue, the double vinyl edition of the 2001 album will be made available again on 10 February 2017.

 

Price: $28.00

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Delroy Edwards – Hangin’ At The Beach LP

Delroy Edwards has come a long way. 2012 marked his introduction into the world of Dance Music via Ron Morelli’s Imprint LIES. After offering up essential dance floor singles like ‘4 Club Use Only’ and ‘Heart and Soul’ Edwards’ established himself as a producer with a unique touch and style. With a growing desire to control his own output and make a more significant statement, Delroy set off to start his own imprint, L.A. CLUB RESOURCE.

Creatively directing his own imprint became a platform for him and over the course of two years L.A.C.R. created one of the most palpable musical experiences in the field. The label released music in a range of styles from a span of generations, the only constant was the high output and stellar art direction. Many releases produced by the label head himself, Delroy’s production were lauded for their piercing simplicity, grace and attitude.

In his first LP for the label, Edwards’ has arranged a sincerely personal moment. The 30-track effort marks a special moment in his growth blending current interests in punk and electronics into an outsider narrative like no other. From Devo to J Dilla the influences across the record are subtle but respectful. Regardless of influence, Hanging at the Beach feels unequivocally new. Experiencing the LP for the first time speaks to the Californian experience in its full range. Certain moments call to the beaches of Monterey while others speak to the sleeze that lines Hollywood Blvd. Edwards doesn’t distance himself from the production style that has defined him and the label, but this effort is a long playing collection, a directed, new moment for the prolific producer.

Price: $26.00

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Kaitlyn Aurelia Smith – Euclid LP

A1 Careen
A2 Wide Awake
A3 Stunts
A4 Sundry
A5 Glide
A6 Escapade
B Labyrinths I-XII

“Kaitlyn’s solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory.”

Price: $16.00

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Various – Cønjuntø Vacíø #4 12″

A1. Internazionale – Threads And Tusks 05:00
A2. Damien Dubrovnik – Excerpt From February Piece 04:11
A3. Phase Fatale – Your Love Will Not Save The World 04:22
A4. Fingering Eve – Untitled (0000023) 03:15
B1. SDH – You Pt. 12 
B2. First Hate – In My Dreams 03:22
B3. Molly Nilsson – Think About You 04:12

Diverse, modern post-punk leaning Industrial “band techno” compilation.

Price: $16.00

Pan Daijing – A Satin Sight LP

A1 Tenderloin Tanz
A2 Exile
B1 A Season In Hell
B2 Nomenklatura

Most probably missed out on Pan Daijing’s 2015 debut, a limited-edition cassette filled with industrial-inspired techno improvisations. This 12″ for Bedouin Records is the Berlin-based Chinese artist’s first appearance on wax, and contains a quartet of intense and distorted workouts. Some will hear nods to classic Chicagoan acid and EBM in the thrusting industrial techno of “Tenderloin Tanz”, while the moody, synth-laden throb of “Exile” recalls some of Cabaret Voltaire’s most memorable moments. Flip for the spooky EBM of “A Season In Hell”, where ghostly melody lines and aggressive stabs prod away at the senses, and the Nine Inch Nails style audio anger of “Nomenklatura”.

Price: $18.00

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L/F/D/M – Music Without Discipline LP

A1 Crocodiles In Feeding

A2 Dance, You Awful Cunt

A3 Pinx
A4 After R Version II
A5 Birds
A6 Ant Hills
B1 Texan Flower Girl
B2 Living Without Gain
B3 S SSS
B4 GO2
B5 Ballet

“Noisy to effective grooving, 1980s EBM tinged to minimalist Techno ranging album”

Price: $22.00

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Prostitutes – Dance Tracksz LP

“No-pretense, raggy-as-fuck rave set built minimal and raw for the hard-worked ‘floors.”
A1 Ah Yeah
A2 Bottle Smashing
A3 Prey
A4 Rudebo
B1 Luv U Bruv
B2 Hot Key Motherfucker
B3 Reds
B4 War Goes On

Price: $20.00

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Various Artists – Mono No Aware 2xLP – PAN & Mount Analog exclusive / Limited Art Edition

Limited Edition of 100 copies.

Mono No Aware is the first compilation to be released on PAN, curated unreleased ambient tracks from both new and existing PAN artists. Featuring Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, ADR, Bill Kouligas and more.

“Mono No Aware”, ‘the pathos of things’, also translates as “an empathy toward things”, or “a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life’s transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present.

The album is mastered and cut by Rashad Becker at D&M, featuring photography by Molly Matalon and design by Bill Kouligas. A Limited Version of 100 copies will be released as a special art edition in collaboration with Mount Analog for Printed Matter’s LA Art Book Fair 2017 (spanning Feb 23-26). All copies arrive with photo print and hand-stamped vinyl, copies sold onsite are also hand-numbered and signed by artist.  Limited pre-order release via Mount Analog shipping March 1.

 

A1. Kareem Lotfy – Fr3sh (03:52)

A2. Malibu – Held (06:22)

A3. Yves Tumor – Limerence (05:29)

A4. HELM – Eliminator (03:27)

B1. ADR – Open Invitation (04 :49)

B2. AYYA – Second Mistake (07:16)

B3. Flora Yin-Wong – Lugere (02:47)

B4. Mya Gomez – justforu (05:31)

C1. Bill Kouligas – VXOMEG (03:36)

C2. Jef Witscher – ok, American Medium (06:19)

C3. TCF – C6 81 56 28 09 34 31 D2 F9 9C D6 BD 92 ED FC 6F 6C A9 D4 88 95 8C 53 B4 55 DF 38 C4 AB E7 72 13  (0 3 :4 3)

C4. James K feat. Eve Essex – Stretch Deep (04 :20)

D1. SKYH1 – Huit (03:51)

D2. M.E.S.H. – Exasthrus (Pane) (03:44)

D3. Oli XL – Heretic (04:17)

D4 . HVAD & Pan Daijing – Zhao Hua (06 :47)

 

Price: $45.00

Dreams – Twisted Karma EP

L.A.-based Brazilian producer Jesse Pimenta a.k.a Dreams with a trio of tuffened club constructions for his own label, Private Selection Records. Up front, ‘Energy’ and ‘Twisted Karma’ bring a percussive pressure recalling work from Tessela, Randomer or The Zenker Brothers, but the B-side is a different beast altogether, twysting-a-belly with a grinding, mutant techno torque.

Price: $14.00

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