RARE RECORDS CATALOGUE

529. ICHIYANAGI TOSHI: “Obscure Tape Music of Japan Vol. 5 – Music for Tinguely” (Omega Point - OMEGA POINT Archive Series OPA-005LP) (Record: Near Mint/ Jacket: Near Mint). Long Out of print LP of only 300 copies. Ichiyanagi is the best-known composer for domestic and foreign avant-garde music fans. Especially in his brilliant 60's, he made some ear-blistering great tape music. But most of compositions remained buried in his private vault, never published on discs or if they saw the light of day altogether, they were issued in tiny editions. This LP consists of his obscure three tape works. "Music for Tinguely" was made from junk objects of kinetic sculptor Jean Tinguely. "Appearance" is live electronic music. It's not only première performance but also John Cage and David Tudor participated in performance. The whole composition is gloriously noisy and can be defined as hard core vintage electronic music!! "Music for Living Space" was composed for inner space of 'Sun Tower' of World Expo in Osaka. Computer generated voice reads architect Kisyo Kurokawa's manifest. I all utterly strange and dementedly wicked electronic music!! Price: 85 Euro

530. ICHIYANAGI TOSHI: “Opera From the Works of Tadanori Yokoo by Toshi Ichiyanagi (1969)” (2LP set – The End Records - Picture Disc) (Records: Excellent/ Gatefold Jacket: Excellent ~ only some faint edge wear, very faint, apart from that it would be Mint/ Attached 4 Paged Insert: Mint). Great copy of this eye-popping original monster!!! Without a single doubt one of the greatest mind-blowing psych and Fluxus artifacts to ever have hit the streets. Housed in lavishly designed 2LP foldout jacket, this gorgeous disc is one of the rarest and most sought after Japanese psychedelic, avant-garde artifacts, a real object d’art, revitalizing one of Japan’s best ever psychedelic avant-garde head-on collisions. Released in 1969 on the private End Records and now one of Japan’s most sought after vinyl artifacts, “Opera from the Works of Tadanori Yokoo by Toshi Ichiyanagi” is a brain ripper and an eye popper of a disc. Visually it is without a single doubt one of the most beautiful LP’s ever to be released, a 2 LP picture disc decorated lavishly by Tadanori Yokoo’s Fluxus inspired psychedelic artwork. Upon folding open the disc, you get treated to a 4 paged inner booklet of 24 carefully designed postcards depicting posters done by Tadanori up until 1969 for various theatre troupes such as Terayama Shuji’s Tenjosajiki. In short it is a visual delight that will cause temporary dysfunctional catharsis on the eyes. But apart from the visual grandeur and overload you are bound to be hit senseless with, the music embedded within this LP set and accompanying picture discs is so overwhelming you will have a hard time trying to come to terms with it upon attempting to digest it properly. In one word: sensory nimiety on all fronts. The man responsible for it was avant-garde composer Ichiyanagi forging a diabolical pact with the psyched-out band the Flowers (spearheaded by Uchida Yuya) and illustrator Tadanori. Together they delivered (with the help of other luminary artists coming out of various fields such as Kara Juro, Takakura Ken as the most prolific ones) an unique amalgamated mixture of lysergic demented psychedelic assault-like stunt rock, a aural whirlwind filled with acid folk ramblings, tape collages, field recording excerpts, radio commercial snippets, roaring jet engines, electronic music excursions into the vast unexcavated canyons and dungeons of your mind, squealing sound fragments of frogs mating in a nearby pond, drowned out enka escapades, kayokyoku excursions into no mans land, Takakura Ken nasal singing, spoken word fragmentation bombs by Kara Juro amongst others, traffic noises, sonic sound clusters of blistering fuzzed out psychedelic mayhem, stratospheric static electronic hissing, radio news broadcast flashes, vintage electronic tape music escapades, chirping cricket orchestras in a distant background and so much more non-adaptive and deranged sonic activity. This disc leaves no stone unturned and is probably one of the best records ever made. Upon listening to this, you hardly need anything else anymore. Highest Recommendation. Rare as hell does not even come close to describing the scarceness of this 2 LP picture disc set and then I am not even mentioning the visual splendor of the overall packaging – music and museum piece qualities all folded up into one single item, the dream artifact of every self-respecting lover of outward sounds and collective deranged discs – highest rank of collectability and musical demented splendor – a killer on all fronts that no other disc can match…. Nice price way below your regular dealer and e-bay frenzies. Only downside that this copy has some faint background noise (common with picture discs) in between tracks and the quite parts and for that reason this nice copy is the cheapest ever offered. Seen against that background, this one is definitely a bargain sale…Price: 425 Euro

531. IDIO SAVANT: “Shakers In’A Tantrum Landscape” (Artifacts – 1979 Private) (Record: Excellent/ Jacket: Excellent). “Here’s another obscure improv gem, peripherally related to the last post. Idio Savant are another group of noisemakers from the Southern US (Virginia, not quite as far south as the Raudelunas crew). This quartet of Pippin Barnett, Dan Finney, Martin McCavitt, and Paul Watson put out this LP in 1979 on the Artifacts label. Three quarters of this group would go on to found the more song-oriented Orthotonics and other members worked with the Famous Actors from Out of Town, Curlew, the Ululating Mummies, Nimal, and others. Members also teamed up with LaDonna Smith and Davey Williams from Raudelunas to make the Trans-Idio lp Alchemical Rowdies. The liner notes describe this as ceremonial music – “The drums and percussion work linking rhythms. Deep and high, far and wide, exist; long sustained screetches and noble hums search out dimensions, crashes force collapse, sudden gibbering energies from plain workings, voices spread, water runs, seeds rattle. This music is invisible, and cannot be paralyzed; it is as genuine as a frog, though not as currently popular as the cockroach.” (Portable Madness). Price: 60 Euro

534. ILITCH: “Periodik Mindtrouble” (Oxigene) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top Copy!! Original top copy French 1978 pressing. “France seems to be the land of heritages, of intelligent derivatives of the lovers of the citadel of Frippery, quasi-unshakeable monument of the distorted music of a seeker at the beginning of the 70's. We are not witnessing here a remake, happily, but another breach, which has remained open. And if we repertory the Heldon, Lard Free, and some astute punks, we notice how spacious the lessons of the master are, and how the variants have not had to overlap. One may speak, then, of different ideologies coming from the same source. It is hard to escape this when we know that the demeanor (gait) of Heldon is impregnated with ideograms as revealers. Here, one cannot be sure about it; Illitch is, on this disc, one sole musician for a "work" really divided into two parts. The first side may be a little exercise of style at the beginning, but with a perfect mastery of sounds and an economical use of effects for a disc recorded “outside the studio”, which makes one feel as though they have met a lover of the sonorous substance. Guitars, bass, organ sometimes harmonium. Plenty of wah-wah and broken rhythms. Chopped up, the pieces dissect at a rather uncommon atmosphere, because they seem to be made like very long pieces, bending to cause a break of the senses at all levels. A will, not to become heavy, and not to shut oneself up inside a mounted process/infinite apotheosis. Then an acoustical piece uses stereo as a reverberation/unkeying, A very strong sound, very uplifted (the rhythms sometimes sustaining an ensemble of a strange coherence,) a sort of combat which leads this single musician to the limits of the disintegration of sound, but without playing on the saturations of the lyric flights. Music hard and distinguished, worked on the idea, but also remaining very close to the entrails of his guitar, which speaks its ill and its breaks, because to fly away is sometimes to be lost. A first side of a musician who has listened well to many musics.  The second side is altogether different ; made in one sole 27-minute piece, which gives its title to the album, Periodikmindtrouble. This trouble of the spirit is divided into three periods, with an introduction that is a little confused, no doubt to announce what is coming, a long theme on the organ, enhanced by a rhythmic sequence which is effaced in the final guitaresque in the form of truncated homage, the loop is looped suddenly on this piece made more to please oneself. A first disc, at any rate, it does one good to listen to, because musicians who do not succumb to the modes of the moment and do not copy the “masters” are the future, even on the strings of a LesPaul. ” (Vladimir -Oulianov, Xavier B. – Adaptation of Periodikmindtrouble press book by James Ellis in CLE, June 1978) A classic. Killer all way through. Price; 120 Euro

535. ILITCH: “10 Suicides” (S.C.O.P.A. – Scopa/HRH/I0007) (Record: Near Mint/ Jacket: Excellent). Original 1980 1^st pressing. “Like Periodikmindtrouble, 10 Suicides, originally a single LP from 1980. On this second effort, Ilitch's main man, Thierry Muller, uses more musicians and even throws in vocals and song structures on a few of the tracks, though 10 Suicides is only marginally more accessible than the earlier effort. As the original album offered ten different soundtracks on suicide, this is as dark as ever, though more varied than its predecessor, going everywhere from the gentle but haunting piano interlude of "Symphonynachevee" to the harshly aggressive cyberpunk track "Periphikredcommando." On this latter track and the other songs, the voices are heavily processing and distorted, sounding something like the Residents, to match the bleak electronics and distorted guitar textures. "Waiting for Mabelle" is a strange piece of avant pop, with a catchy melody and bouncy but choppy rhythm, while "No Answer" is a nihilistic chant with industrial backdrop mixed with distorted psychedelic guitar pyrotechnics. Some of the tracks are quite drone-oriented, and the long third track is quite effective. It starts off like the others as droning and ambient, and then slowly builds up with intensity to a squalling noise.” (Rolf Semrpebon). A classic of the French underground. Maybe my ears are totally messed up but after having being used to play this constantly on CD, I must say that the original vinyl pressing sounds more hauntingly clear and awesome. Totally recommended. Price: 70 Euro

537. INCREDIBLE STRINGBAND: “The 5000 Spirits of the Layers of the Onion” (Victor Japan – Blue toned Electra label – SWG-7574) (Record: Near Mint/ Jacket: still in shrink and mint/ 6-paged Insert: Mint). First Japanese press out of 1972, bloody rare to track down these days and released in ltd quantities back in the day. Totally mint copy. Musically and lyrically, what lay at the heart of this magisterially titled The 5000 Spirits or The Layers of the Onion (which came out in 1967) was what seemed to be a casually weird and strangely lovely variation upon two distinct traditions. These were American folk music as distilled by Guthrie, Seeger, and, especially, Dylan whose cryptic and quite possibly profound poetry of the mid-‘60s was a pronounced influence on Williamson and the trickster-storyteller heritage the pair inherited from the myriad bards and minstrels scattered across Scottish history. Conspicuously absent from the ISB concoctions of these and subsequent years are an active engagement with goings on in the political sphere. Their allegiances at this time were to a whimsical and romantic brand of mystical adventurism, the goal of which was to transmute the stuff of everyday experience into a breezily exotic ether, leaving its breathers in a state of occasionally wistful cheerfulness. This is the rare Japanese 1^st press on the blue Electra label. Top-notch copy. Japanese press just never ever surfaces…Total MINT copy. Price: 150 Euro

539.INDEX: “S/T” (Valord Records) (Sealed). Official sealed reissue of this R6 psych and much in demand LP. Made by drummer Jim Valice back in 2004 on his Valord Records label. And it's long-out of print. "Much has been written about this incredible band. Much of it isn't true. I want to set the record straight. Index was formed in the early spring of 1967 in Grosse Pointe, Michigan. I was 18 years old when I met a chain-smoking 16-year-old named Gary Francis. Our conversation soon got around to rock and roll. He told me that he and his friend, John Ford, were forming a band. I told him that I played drums and we arranged a jam session at John's home on Lakeshore Drive. Our first meeting was incredible. Our sound was full and powerful. John's lead guitar techniques were fresh and innovative. After our first sessions we knew we had something special. Index was born. Soon we hit the local 'sock hop' circuit, playing at high schools and teen clubs in the area. We poured our unique sound out at The Hideout, Undercroft and G.P. War Memorial every weekend. One afternoon John pulled out a new album he had been listening to. It was a new band with a mind-shattering sound called 'The Jimi Hendrix Experience.' John played some songs he had written inspired by this 'psychedelic' sound. Over the next few days, 'Fire Eyes,' 'Shock Wave' and 'Feedback' were written. This album was recorded in December of 1967 at the Ford estate. It is recorded in mono sound with literally one microphone and with all instruments and vocals recorded at the same time. The cover photo is of 'Orpheus and Bacus,' founders of a singing group John joined at Yale. The stiff, board-like figures seem to characterize the exact opposite of this musical collection. This reissue is taken from the original recordings. Nothing has been added and all songs are in their original length. Over the years various bootleg copies of this album have surfaced but this is the original work." -- Jim Valice. Price: 40 Euro

540. INDEX: “”S/T” (VOXX – VOXX.200.023) (Record: Near Mint/ Jacket: Near Mint). Truly amazing 1967 basement garage-surf dementia that will floor anyone with a decent set of ears. “primitive surf-garage-psych with off-key teenage vocals and an unreal soundscape; imagine Dick Dale jamming with 1966 Velvet Underground in an airplane hangar after a night of booze & Quaaludes. Great band originals share the stage with unparalleled Byrds deconstructions, while some of the feedback and drone passages are bordering on avant noise. A true missing link item bridging the early and late 60s sounds.” (Acid Archives). 1983 reissue of this ultra rare slide. So good. Price: 50 Euro

541. INSTANT COMPOSERS POOL: “ICP-002” (ICP002) (Record: Near Mint/ Silkscreen Jacket: Excellent). 1^st original pressing housed in silkscreened jacket. Second release on the Instant Composers Pool or ICP label but actually the first release to bear the Instant Composers Pool moniker. The first LP on the label (ICP001) was actually credited as Instant Composers since it was a duo recording of Bennink and Breuker. For this one, Breuker steps aside for a moment and Bennink get flanked by Misha Mengelberg and John Tchicai. Noteworthy on this groundbreaking recording are the sidelong tracks respectively called Amagabowl Part I and part II and the tracks Sweet Smells and Vietcong. The whole affair was recorded on May 13^th and 14^th 1968. It is a brilliant time piece of that era, opening up with dysfunctional piano lines by Mengelberg, against which Tchicai splatters out fractured sax lines punctuated by Bennink’s multi-facetted drum shifts and swirls. Staring off as a fragile and delicate excursion into mercurial free form territory, it isn’t before long or the trio’s insanely beautiful ravaging of high-energy forms come to the foreground, zooming in and out of the well-balanced delicate sounds of thunders before veering into ravaging blizzard like attacks. The three of them build on the apocalyptic energies of Bennink’s skin shifting, alternated by Mengelberg’s almost the Luciferian piano playing against which Tchicai splatters saxophone riffage ranging from almost alien-like marching bands squawk towards absinthial-huffing through bottom-end reed pumping. This is a classic and a true jewel of European free hardcore jazz. They sure ain’t coming any better than this. Highest all time recommendation. Price: 120 Euro

542. INSTANT COMPOSERS POOL: “Lunchconcert for Three Barrelorgans – Willem Breuker” (Instant Composers Pool – ICP-003) (Record: Near Mint/ Jacket: Near Mint). One of the rarest and hardest to track down ICP records. First time ever I have a copy to spare of this one and then it is in near mint condition to boot. Apart from being the rarest ICP disc, it definitely also classifies as the most weird and oddly strange one. This surely is some demented shit that will infest your earlobes and I wonder if they can take this barrel organ extravaganza after being terrorized with FM sugary crap for the best part of the day. Recorded live at the Dam in Amsterdam on March 26, 1969 during lunch time, this collision course jam dementia of three barrel organs must have scared the casual passerby that day shitless and having them running for the nearest air shelter to dodge this sonic raid on the senses. Voices of passers-by pop up here and there, commenting on the sonic pollution taking shape before their eyes before hiding out in some nearby bunker in order to hang on to that last grain of sanity they may still possess. Anatomically atonal, disenfranchised disorientated insanity, mentally deficient sonic mayhem and pixilated unsoundness are some of the diluted impressions of musical grandeur I get catapulted into upon spinning this disc time after time. This is simply some of the greatest music ever recorded, which will saturate every mentally disturbed and eccentrically distracted. This disc gives a whole new meaning to improvisation, field recordings, outsider music or even so-called “real people music” and makes all the other improv discs sound like Little Red Riding Hood having a “Dejeuner Sur l’Herbe”. Music won’t get more “outsider” or “real” than this disc here, so start heading for the trenches and enjoy it. Just massive and all time possible highest recommendation. Bloody rare 1^st original press. Price: 175 Euro

543. INSTANT COMPOSERS POOL/ BENNINK HAN: “Solo” (Instant Composers Pool – ICP-011) (Record: Mint/ Jacket: Mint). Signed and dated by Han Bennink and this copy is as mint as mint can be. Han Bennink’s first extant solo recording. Recorded in 1971~72, Bennink reveals himself here to be a chameleon with a massive setup composed not only of drums but of exotic percussive and wind instruments, along with what the liner notes could only describe as tins and home-made junk. Amid a wave of cymbal crashes and furious tom rolls, Bennink spits out volcanic gibberish. The growls, howls and spluttering outbursts weave in and out of his rhythms, beginning at the point where the other ends and vice versa. He simply pushes jazz’s rhythmic possibilities of the drum as just a percussive instrument to their absolute limit. This is the sound of a man becoming his drum. The jacket is also a statement of self-sufficiency since it is a mixture of printed and hand assembled collage art with a Dutch flag, a piece of a note book pasted to the higher right corner, a bird’s feather near the middle and 3 flying birds have been drawn in the right-hand corner. All is original and in top condition. It perfectly suits the music, which is lo-fi as can be and like the jacket also entirely home-made. This is DIY from way back in 1972…Price: 200 Euro

544. INTERSYSTEMS: “Number One” (Allied – IS 1S) (Record: Excellent/ Jacket: Mint). Hideously rare and largely still undetected Canadian private press on the highly collectable Allied Records label that fuses sound poetry nonsense dadaism with experimental, avant-garde, electronic music and weird psyched-out & frazzled-up effects that defies all reason and meaning. Released way back in 1967, this was Intersystems first release, and right from the start depicted them as avant-garde freaks with a taste for the psychedelic surreal as they go on to exclamate, rant, recitate and create their demented texts and word juggleries in a curiously zombie-like tone, all set against a primitive buzz-humming static noise, freaky dusty electronics and musique concrete background. The weirdness on display dwells in similar regions as Bill Bissett and See Hear albums. But Intersystems even manages to outdo both of them to such an extent that the recitations and ramblings of emphatically spoken vignettes of lysergic apocalyptic poetry are spiked up with surreal punctuations of demented musique concrete weirdness. The end result is very estranged hell-broth piece of sound art that has to be heard in order to be believed. This disc is rocking my boat for already the better part of the decade and finally I am psyched to be able to offer this spare copy. Over the top brilliance in disguise and should appeal to everyone into weird stuff, avant-garde junk noise, crackbrained ravings, atmospheric psychedelic backdrop art-scum, Dadaist thundering low-fidelity outbursts of mutant spoken weird hallucinatory rants and rambles, oscillating jangled mix of dusty gnawing sound FX, frenzied sonics, hallucinated hog-wild declamations and unhinged sound art. A total must!! Amazing original copy, don’ believe they come any better than this one here. Price: 450 Euro

545. INTERSYSTEMS: “Peachy” (Pentagon/ Allied – ALS-1428) (Excellent/ Jacket: Near Mint). Intersystems second LP as released in 1968 which contains similar completely off-the-hook disenchanted weird primitive avant-electronic with ring modulators, oscillators and noise generators courtesy of John-Mills Cockell along with bizarre sound /poetry by Blake Parker. Totally way ahead of their time along the lines of Kluster, Reverend Dwight Frizzel and Bill Bissett. Fabulous disintegrated chaotic drunkenness and caveman electronic low-fidelity outbursts blessed with a kind of hysterical fatigue that comes from spending too much time in the Spartan, almost skeleton machinery of an underdog operation which in return breathes out this demented lunacy as a form of sultry madness. Sheer fantastic and brilliant. Highest recommendation. Top copy!! Price: 400 Euro

546. IOWA EAR MUSIC: “S/T” (Corn Pride) (Record: Excellent/ Jacket: Excellent). Original 1976 private pressing. As is usual the case with strange and obscure avant-garde records, US Creel Pone is bound to make a nice bootleg of it, giving it finally some extra exposure and bringing a whole new audience to this initially overlooked music. So in cultivating a good tradition, I – in return – hijacked their descriptive mumbo jumbo, so boot the text so to speak. "This one’s certainly a mold-breaker; closer in spirit to Cage/Tudor’s “Indeterminacy” than the sort of bedroom solo composer/producer/performer LP’s that have been the creel pone archetype thus far... improvisors were set up in 4 different isolation booths in the studio in Iowa State University’s recording studio during the ‘67-’75 seasons. These simultaneously occurring sound-events captured in real time, then collaged via tape & electronic processing by the studio-head Michael Lytle afterwards. There are brief snatches of amazingly dense, if even inept euro-style improvising; all dove-tailed with some great bits of zonked analogue electronics, vocal droning, and climactic, tape-speed warble free drumming (which, inexplicably erupts at one point into a reading of “lonely woman” for cavern-reverb trumpet and square-wave sequenced moog bass !!!) My favorite thing about this LP is that no one piece stays in one place for longer than a few minutes until the chopping block is brought out and a static-feeling improv is fiercely juxtaposed against a blast of pitched up stereo-echo blast along the lines of “several species of small furry animals gathered together in a cave and grooving with a pict”. It’s inspiring to know that this sort of free-wheeling electro-acoustic improv-tomfoolery was taking place even in the most Midwestern of geographies during the early 70s... There are certainly echoes of the work of similarly-minded ensembles such as MEV, Gruppo Nuova Consonanza, and New Phonic Art, although natch this is considerably more ad-hoc/rough-around-the-edges... fans of Mimaroglu & Hubbard’s “Sing Me A Song Of Song My” will find parallel here, even if it’s a rougher, a-political one...” (creel pone/ Mimaroglu). Spot on, an outsider electronic masterpiece coming to you straight out of a sonic wasteland. So necessary, it will knock you flat out. Price: 125 Euro

547. IPEM 1963~1973: “Lucien Goethals & Karel Goeyvaerts” (Alpha records – SP-6015 – 1974) (Record: Near Mint/ Jacket: Mint). This is one of the most sought after early electronic music and musique concrete artifacts out of Belgium. This disc is so obscure and unknown by most of the avant-garde aficionados due to the limited information that is floating around on Belgian electronic composers from that day. Alpha records, a label originated by the RUG Gent University in coalition with the Belgian Television broadcasting company and never properly distributed, released the disc. The music on the other hand is just stunningly organic and abstract and can easily compete with the more common and big names that encircle the ephemerae world of electronic composers. Over the top great and extremely difficult to locate, even in Belgium where copies of these disc only change hands for huge amounts of cash. Rare does not even come close to describe the monumental museum piece like stature of this disc so the price is set according its rarity. Great copy all round in stunningly almost perfect condition. Price: 475 Euro

549. ISHU KAYOKO & YAMAYA KIYOSHI TO NEO ROMANESQUE SOUNDS: “Scat Elegans” (Philips – FS-8048) (Record: Mint/ Gatefold Jacket: Mint). Fantastic early 1970 female scat album. The whole album is centered around the erotic and ethereal scat vocals and one syllable utterings of Ishu Kayoko, underscored by Yamaya Kiyoshi & Neo Romanesque Sounds outfit that has in its ranks Sato Masahiko!. It is an aural adventure into the sonic realms of sophisticated female scat vocals, underscored by baroque and soft pop psych sounds, elevating you towards the heights of the pink brothel parlors and striptease joints of late sixties Tokyo Asakusa district. Lush and plush feathered boas get wrapped around your ears, while bare-tittie oriental beauties go down on you in a slow motion lap dance that seams to go on for ages. B-movie cinematesque in its execution, quivering with lust and a pink parlor like aesthetic, “Scat Elegans” is ear candy for safe sex practitioners, balancing between sleaze, safe erotic stimuli, lounge jazz dwellings, dimly lit cocktail party that slowly unfolds itself into deep night soft jazzy waters. Ishu Kayoko’s scat is compellingly warm, well balanced and hypnotic in some places and a true pleasure to immerse yourself in. She tackles sin a non-syllabic mode some cover tunes such as “Vivre La Nuit”, “Scarborough Fair”, “Man and a Woman”, “Whiter Shade of Pale” and even “The Fool on the Hill” amongst others. Although the initial setting is loungey and cocktail-ish, the musical interludes between her mumblings however gives some dynamic range to the backing musicians to roam a bit free and spike up the overall atmosphere even more with pink fluffy clouds – be it in a structured way – such as Sato Masahiko’s backing runs who are breathtaking and carry the whole affair to the next level, infusing the whole with a faint renegade like whim of evaporated coke clouds on the horizon, surmounting the mere cocktail lounge setting of Yamaya, only to elevate Kayoko’s scat vocalizations towards the next level of perception. So the band and the female singer merge wonderfully well, her voice is warm, soothing and is gifted with that late night laid back feel. Truly wonderful album that hasn’t left my turntable in between the heavy psych and avant-garde sessions, bringing in an oasis of flowering beauty and simplicity that sounds oddly normality but succeeds in transcending it nevertheless by steering straight into blissful modal atmospheres. Makes you realize how much beauty a simple song reignited and rejuvenated through mere female scat excursions can contain, without embarking into testosterone infected macho bravura. So while enjoying this gem, it transports me instantly towards a lush sofa somewhere in a dimly lit cozy hotel lounge on the Ginza strip while enjoying a brandy, a good Cuban cigar and an expensive scarcely clothed call girl with a feathered boa entwined around her neck by my side, stirring my sentiments up towards that next level of unbridled lust. Blissful in every way. Highly recommended if you are attuned to the finer pleasures in life and love female nibblings and mumblings close to your earlobe. I know I do…since…no that would lead me to far, just ask my wife for the details of this when you have a chance to meet her in another life. Extremely hard to get in such a nice nick as this copy here. For lovers of female vocalization aesthetics, scat excursions and cocktail lounge decadence. Price: 150 Euro

550. ITOH KIYOKO: “Ringo No Hana Sakukoro b/w Sayonara Ga Ienai” (CBS Sony – LL-10041-JC) (7-Inch: Mint/ Gatefold Picture Sleeve: Mint). This is a stunning release. Originally released in October 1967. Itoh Kiyoko made 2 rare albums, but this tape precedes them both and musically even surpasses them. No wonder, a Cutie GS Pop girl!! Sixties beat girl swing vibes merging with soft psychedelic mood swings and Go-Go moves. Intoxicatingly great and highest recommendation if mid-1960s cute girlie soft psych pop is your thing, it surely is mine. Long gone and a bitch to unearth these days. Price: 60 Euro

552. ITOH KIYOKO: “23 Ji no Onna – Love In” (CBS Sony – SOND-66038) (Record: Excellent/ Gatefold Jacket: Excellent ~ Near Mint). Only the 2^nd time in 6 years that I can offer a copy of this deliriously mega rare and hardly known Itoh Kiyoko record. Normally if you want to score a copy of the original vinyl you are required to donate most of your vital organs to some yakuza-typed black marketer, but luckily enough, this one here is easier to attain without ripping out a lung or a liver to pound off. The LP is housed in an eye-pooping foldout jacket. It was the final album Itoh recorded in 1971 and on this effort she got backed up by again a bunch of Tokyo underground heavy weights such as J.A. Seazer and Kuni Kawauchi of the Happenings Four. On this album, Itoh’s talent is fully flowering and apart from merely eargasmatic songs she hushes into being, atmospheric city-life field recordings and well-balanced sound snippets find their way in and between her compositions. These flashes of cosmopolitan Tokyo city life grandeur and the feeling of desperate desolation it tails along elevate her impeccable melancholic love ballads and softly erotic excursions to even higher levels of artistic expression, catapulting the whole affair towards eerie stratospheric heavenly delightful realms. Sadly enough, both of her albums failed to catch on, not poppy enough, too melancholic, way too creative, artistically too advanced, hard to categorize and probably even too erotically sophisticated without degrading herself to mere carnal sonic one hit wonders. In one word, a delicate soft psychedelic wonderland avenue of an album that will entrap simple airhead listeners into a deadlock without giving them the chance to fully explore the absinthial pleasures it conceals. If one only cares to listen to what lies underneath its surface layer, a new form of aural addiction will commence to besiege you. One of the greatest underrated delicate psychedelic female vocal albums to seep out of Japan. Original copies just never surface and if they do, you have to trade in – in most cases - a limb in order to take one home with you. So this affordable top-notch copy might be just the thing you need. If you got entangled into Kaji Meiko’s sonic universe, you should try Itoh Kiyoko. All time highest recommendation and forget about original vinyl copies, they are even scarcer that all your Blues Creation, Too Much and Oz Days records together. Price: 400 Euro

553. IT’S ALL MEAT: “S/T” (Columbia – SLS-374) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Canadian heavy psych LP. Top original Canadian press copy of one of the rarest Canadian heavy psych slides out there, Its All Meat came to prominence in Toronto, Ontario and released a superb, but little known album on the Columbia label in 1970. The band consisted of Rick Aston (bass), Jed MacKay (organ, piano), Rick McKim (drums), Wayne Roworth (guitar) and Norm White (guitar). MacKay and McKim both previously played together with Toronto’s Underworld, whose lone single, “Go Away”, released in 1968, is considered one of Canada’s most sought after garage bands songs. Its All Meat actually took their name from a 1960s dog food commercial extolling its beefy canine chow as "100% meat, no filler!" In all it is an excellent example of early 70's keyboard dominated psychedelia, garage punk and haunting keyboard sounds. In short this is THE top level garage psych classic filled to bursting with hard fuzzy drenched psychedelic mind moves and the epic “Crying into the Deep Lake” causing mayhem and hitting the nerves so hard you will need to press your eyeballs back into their sockets before you hopelessly sink deeper and deeper into the quicksand of your own excrements. This track alone will make your balls contract violently, crawling straight up back into your belly. A lost classic that will certainly rip the woofers out of yer speakers. Top copy original pressing. Price: Offers

554. ITS ALL MEAT: “S/T” (White Label – ELS-374) (Record: Near Mint/ Jacket: Excellent). Canadian heavy psych LP. Grey area issue of one of the rarest Canadian heavy psych slides out there, Its All Meat came to prominence in Toronto, Ontario and released a superb, but little known album on the Columbia label in 1970. The band consisted of Rick Aston (bass), Jed MacKay (organ, piano), Rick McKim (drums), Wayne Roworth (guitar) and Norm White (guitar). MacKay and McKim both previously played together with Toronto’s Underworld, whose lone single, “Go Away”, released in 1968, is considered one of Canada’s most sought after garage bands songs. Its All Meat actually took their name from a 1960s dog food commercial extolling its beefy canine chow as "100% meat, no filler!" In all it is an excellent example of early 70's keyboard dominated psychedelia, garage punk and haunting keyboard sounds. A lost classic that will certainly rip the woofers out of yer speakers. Great. Price: 25 Euro

557. IUCHI KENGO: “Inugami to Kachiku” (Kubitsukiri Records – 1996). (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ Sticker: Mint). Fold out jacket with beautiful inner design, obi, insert, sticker and booklet. Private press released in May 1996 in an edition of 500 copies. This was Iuchi Kengo’s first record, following a number of cassette only releases. Needles to say that this sucker is hideously rare and still largely unspoiled and undetected by the larger public. This is in a way a shame because Iuchi’s music is highly original and cannot be compared to any artist. True outsider music in the purest meaning of that term. To describe Iuchi’s music is a different affair. While everybody is talking about acid folk, Iuchi brings forth a whole different range of folk music, best described as death folk. Heralding out the Shikoku region and only armed with a detuned, battered down acoustic guitar, Iuchi slashes his instrument while pouring out his tortured, bone chilling and creepy wailing voice. He sucks in various musical influences into his sonic universe, ranging from folk, kayôkyoku, to improvisation and noise, blinding it into his own personal and unique style. You never heard anything like this yet! With lyrics commenting on his precarious and unstable mental state, he takes his art to the upper echelons. Can be best compared to Jandek going berserk on a bad acid trip (but even then Jandek wouldn’t get even close to Iuchi…mediocrity just cannot be compared to true genius visionary musicianship but let us drag him in here for comparison’s sake), molesting his relatives, carving up the neighbors and raping his cat all at the same time and recording it for future generations to come. Sadly enough, no more Iuchi recording will be released in the future, since he retired completely from music, hermitting somewhere in the Shikoku region. Quite rare and hardly ever to turn up again on these shores. A stunning masterpiece. Getting extremely hard to find copies of this monster and bound to be a real heavy one in the not so distant future. Price: 150 Euro

558. IVERS, PETER with YOLANDE BAVAN: “Knight of the Blue Communion” (Epic – BN-26500) (Record: Mint/ Jacket: Excellent). First original US pressing of this all-time masterpiece of a disc. “After playing harmonica for Boston’s Beacon Street Union, Harvard music graduate Peter Ivers went solo and recorded this for Epic, with Sri Lankan jazz diva Yolande Bavan. Steeped in blues harp history, but with an ear for the European avant-garde, Ivers concocted an indulgent and multilayered canvas for Bavan’s impressive voice. Opener Cat Scratch Fever starts as a funky blues affair, descending into a disorienting jazz experiment before coming full circle. It’s something of a template for the rest of the album but, like Beefheart, whose influence is clear, Ivers never gets into anything long enough to form clichés. The lumbering, folky Dark Illumination bristles with expectancy: a pounding beat explosion is just around the corner, but never comes. Such delicious and satisfying tension is all over the record.” (Record Collector) Price: 175 Euro

561. J.A. SEAZER: “J.A. Seazer Recital - Kokkyo Junreika" (Victor – SJX-130) (Record: Excellent, /Jacket: Excellent ~ Near Mint). Hyper rare original 1973 pressing, without a single doubt one of the all-time impossible to get Japanese heavy psychedelic rock artifacts. Copies do not turn up since sales in 1973 were so depressingly low that maybe only a few hundred are still in existence and circulation. That hype all aside, the music is the key issue here and this sucker is one of the greatest psychedelic gems to ever seep out of Japan. Recorded live on February 1973 at the Nippon Seinenkan Hall it was Seazer's first recorded artifact (apart from two singles) out of the Terayama Shuji styled Tenjosajiki Troupe. Still sonically the music it inhabits the same deranged realms. Here Seazer gets flanked by the Akuma no Ie band hosting the always-on-duty lysergic lead guitar wonder Mori Takeshi. The theatrical vocalizations are taken care of by fellow Tenjosajiki female howlers and actresses such as Ran Yoko, Shinko Keiko and Showa Seigo, providing a swelling highly trance-inducing and Magma reminiscent hyped-up choir backings. The overall sonic character of this recital dwells into the realms of esoteric Buddhist pilgrimage rock hymns, filled with magic and incantation, creating a total sonic environment surmounting the genres of theatre and music. A real psychedelic brain ripper with some progressive touches in the vein of Magma, early time Pink Floyd Carl Orff's Carmina Burana and esoteric chanting. Get the picture??? A real monumental and highly valuable historical document. Also the cover art gracing the jacket adds some extra icing to the already spiked cake, courtesy to the illustrator Oikawa Masatsu who created a accompanying surreal oriental psyched out drawing. The design only is already worth the entrance fee so wait till you get fully exposed to the soundzz embedded within the grooves of this disc. It will beam you up to other planetary life. Dangerously beautiful and ass-whipping exciting psych. Last copy to pop up on a Japanese auction site with obi attached sold for the sum of 7000 euro, so seen against that light you have a real bargain here on your hands. Don’t think twice, these babies just don’t surface. Hardly ever offered before original copy, so go nuts…Price: Offers!!

562. JACKS: “Vacant World” (Express – EP-7704) (Record: Mint/ Jacket: Excellent/ Obi: Excellent/ Company Inner Sleeve: Mint/ Insert: Excellent). Officially released in 1968, this is the freakingly rare 1^st pressing on blood red wax complete with never seen before and totally elusive obi. Hideously hard to track down these days, especially in a stunning condition as the copy you have here. I guess every single one of you who is subscribed to these pages knows the story of the band by now but just in case some points to keep in mind. This was the only disc with guitarist Mizuhashi in the groups’ ranks. He quit as soon as the recording session was over, ending almost immediately the classic line-up. Compared to their fellow GS practitioners who squirted out lyrics mainly confined to boy meets girl and other sweet oozing problems, The Jacks generated dark, morbid and melancholic images, embodying the darker side of teenage angst and its decaying innocence, exposing their audiences on more than one single occasion to the creeping horrors looming out of their lyrical juxtapositions. The Jacks definitely didn’t have any intention to wear flowers in their hair in order to conquer Tokyo, the equivalent of San Francisco, like saliva driveller Scott Mc Kenzie put forward in his hippie theme song. The Jacks were the sole G.S. band whose total repertoire consisted out of their own material spiced up with Japanese lyrics; there where their contemporaries mainly focused on songs sung in exotic katakana English. Another characteristic that distinguished The Jacks from the other combos was their own unique sound, without making overt references to contemporary US or British psych, that steered away from duplicating foreign role models. Their acidic fuzz-laden whiplash set against a folk intoned backbone made them embody a conceptual demarcation with other G.S. sound-producing combos. The Jacks were a highly unique phenomenon. This is a rare press in top-notch condition, highly collectible and probably never ever to cross your path again (beat up copies will be offered to you, beauties like this one – forget it). One of the cornerstones – if not THE cornerstone – of the Japanese psych pantheon. Hardly ever offered up for sale top-notch copy with obi!!! Price: 850 Euro

563. JACKS: “Vacant World” (Express – EP-7704) (Record: Excellent ~ Mint/ Jacket: Excellent/ Company Inner Sleeve: Mint/ Insert: Excellent). Another 1^st original press copy on red wax, this time without the obi, so this one comes cheap. Officially released in 1968, this is the freakingly rare 1st pressing on blood red wax. Hideously hard to track down these days, especially in a stunning condition as the copy you have here. I guess every single one of you who is subscribed to these pages knows the story of the band by now but just in case some points to keep in mind. This was the only disc with guitarist Mizuhashi in the groups’ ranks. He quit as soon as the recording session was over, ending almost immediately the classic line-up. Compared to their fellow GS practitioners who squirted out lyrics mainly confined to boy meets girl and other sweet oozing problems, The Jacks generated dark, morbid and melancholic images, embodying the darker side of teenage angst and its decaying innocence, exposing their audiences on more than one single occasion to the creeping horrors looming out of their lyrical juxtapositions. The Jacks definitely didn’t have any intention to wear flowers in their hair in order to conquer Tokyo, the equivalent of San Francisco, like saliva driveller Scott Mc Kenzie put forward in his hippie theme song. The Jacks were the sole G.S. band whose total repertoire consisted out of their own material spiced up with Japanese lyrics; there where their contemporaries mainly focused on songs sung in exotic katakana English. Another characteristic that distinguished The Jacks from the other combos was their own unique sound, without making overt references to contemporary US or British psych, that steered away from duplicating foreign role models. Their acidic fuzz-laden whiplash set against a folk intoned backbone made them embody a conceptual demarcation with other G.S. sound-producing combos. The Jacks were a highly unique phenomenon. This is a rare press in top-notch condition, highly collectible and probably never ever to cross your path again (beat up copies will be offered to you, beauties like this one – forget it). One of the cornerstones – if not THE cornerstone – of the Japanese psych pantheon. This cheap copy is still a very nice copy but obi is missing, still comes dead cheap for a 1st pressing on red wax. Price: 350 Euro

564. JACKS: “Super Session” (Express – ETP-8196) (Record: Excellent/ Jacket: Excellent/ Insert: Excellent/ Obi: VG++, has some wrinkles). Second pressing of 1969 complete with always missing obi. Identical to the 1^st pressing apart from the catalogue number and also impossible to wheel in on these shores with the obi present. Second Jacks album, recorded before the band would disband. This one is hard to compare to their illustrious first album, but still it has the Jacks sound imprinted well into the new compositions, albeit they sound quite different and more desolate. Bad omens are looming over the band, which is for sure. Still apart from the Tsunoda Hiro composition “Joe No Rock”, this album sounds like the ideal companion album to Hayakawa Yoshio’s first solo album “Kakkoii…” as far as desperation and overall gloominess is concerned but with one difference that this LP here is a band outing, the Jacks. And although demise is closing in on them, the still manage to sound as outer worldly as humanly possible, depraved, dark and close to nuclear fall out. Bleak music for even bleaker times, micro-dotted with teenage angst and lysergic fumes, the Jacks ruled and even now they never fail to amaze me. Fantastic, album and bloody rare with the obi present. Getting impossible to get at these shores here, so…. Price: 175 Euro

565. JACKS: “Super Session” (Express – EP-7726) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint), some aging stains on the back/ Insert: Excellent). Original first press. Second Jacks album, recorded before the band would disband. This one is hard to compare to their illustrious first album, but still it has the Jacks sound imprinted well into the new compositions, albeit they sound quite different and more desolate. Bad omens are looming over the band, which is for sure. Still apart from the Tsunoda Hiro composition “Joe No Rock”, this album sounds like the ideal companion album to Hayakawa Yoshio’s first solo album “Kakkoii…” as far as desperation and overall gloominess is concerned but with one difference that this LP here is a band outing, the Jacks. And although demise is closing in on them, the still manage to sound as outer worldly as humanly possible, depraved, dark and close to nuclear fall out. Bleak music for even bleaker times, micro-dotted with teenage angst and lysergic fumes, the Jacks ruled and even now they never fail to amaze me. Fantastic, 1^st original press and bloody rare. Getting impossible to get at these shores here, so…. Price: 250 Euro

566. JACKS: “Karappo no Sekai – Jacks no Subete” (Express – ETP-8179) (Record: Near Mint/ Fold Out Silver Laminated Jacket: Mint/ Obi: Mint). Original copy! Very rare original copy of this historical jacks LP housed in a stunning silver laminated fold out jacket. Comes with the always missing obi, making this disc top quality collection shit. The Jacks hardly need any introduction I guess. They were without a single doubt the most original psych outfit to emerge amidst the copy cat GS boom. Bleak lyrics, killer fuzz attacks, lysergic attacks on the senses, in one word some of the best psychedelic garage ever to be put down on wax. This copy here was a sort of a compilation album that came out at the time, collecting their greatest songs and housed in a silver layered jacket you could die for. These original copies, as this one, hardly EVER surface and if they surface at all the condition is most of the times a thing one could cry over. This copy here is almost virginally pristine. A top copy, extremely collectable and still affordable. Highest recommendation. Price: 130 Euro

568. JACKS: “Realization” (Solid Records – LM-1649) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Private press release in an edition of only 300 copies that saw the light of day in the early eighties, making it along with the Jacks Fanclub release one of the rarest items in their discography: “Realization” was originally used and recorded to function as an accompanying soundtrack to Wakamatsu Koji’s “Harakashi Onna”, for which the band dove on February 3^rd, 1968 into the Meguro Studio to lay it all down to tape. The result is astonishing and to these ears the best ever recorded jacks artifact. Recorded in mono, the band sound even more desolate, bleak and strung out than on their other albums. Hayakawa’s guitar is sneering on the foreground, bleeding out deranged pain induced licks sharp enough to slice your wrists on. His vocals on the other hand are filled with teenage angst and despair, deprived of any hope and expectations, complete despondency and youthful distress in full reign. It is beautiful, all that pain on display, gut wrenching infelicity channeled towards the art of creative malapropism and heavy heartaches set to disemboweling great music. The band sounds extremely sparse and just this sparseness accentuate their darker side to a full extent. Absolutely a total killer album, filled with desolate vibes, acidic guitar lines, loner howling vocals and potions to keep you chilled and thrilled. Best jacks album ever and only 300 copies made…. Price: 250 Euro

569. JACOBS, HENRY: “Vortex” (Folkways Records – FSS-6301) (Record: Mint/ Jacket: Mint/ Insert: Mint). Top-notch copy, original 1959 pressing. Sought-after original LP of electronic music from the legendary multimedia theater happenings which took place at the Morrison Planetarium in San Francisco during the late 1950s. Vortex was a series of events founded by sound artist/experimental DJ Henry Jacobs and filmmaker Jordan Belson in association with Berkeley radio station KPFA and the California Academy of Sciences, presenting "a new form of theatre based on the combination of electronics, optics and architecture." Its soundtrack consisted of musique concrete made by Jacobs along with a host of obscure local composers, ethnic field recordings, and avant-garde works by composers such as Toru Takemitsu, Karlheinz Stockhausen, and Luciano Berio, while a room-filling light show entranced the audience, and 40 speakers rotated around them creating "a whirlpool of sound." The stunning early tape music compositions on this LP incorporate field recordings, percussive tape loops, primitive delay systems and filters, and processed sounds derived from diverse sources including voices, the incorporation of the use eerie combinations of percussive noises, electronic, distortion, and loops to create a creepy sci-fi atmosphere. Some of the pieces, such as Jacobs' "Chan" and "Rhythm Study #8," are also forward-looking in their use of improvisational ethnic-flavored music on flute and guitar, along with an Indian tabla and Haitian drums. All in all, an essential artifact of obscure early American musique concrete! This copy also includes the insert. Price: 175 Euro

571. JACQUES THOLLOT: “Resurgence” (Musica Record – MUS-3021) (Record: Mint/ Jacket: Mint). Another solitary musical alchemist who like Robert WYATT refused to be just a drummer. Coming from the world of jazz he produced a first mythical album made up of collages, short, strange and eccentric pieces before making three other albums which confirmed his liking for a music defying classification and drawing on jazz, rock, classical music, experimental and contemporary music to create an original, unclassifiable result based around strange, delirious, beautiful, fragile, intangible themes evocative of SATIE and certain other contemporary composers. One of the best current musicians and composers. Price: 100 Euro

572. TheJAGUARS: “The Jaguars First Album” (Philips – FS-8012) (Record: Excellent/ Gatefold Jacket: Excellent / Obi: Excellent ~ Near Mint). Bloody rare original Jaguars album released in 1968. Complete with always missing obi. Released on February 22, 1968, the first Jaguars album (following their split LP release with the Carnabeats) was the first LP that contained their hit singles “Mademoiselle Blues” and “Kimi ni Aitai” together with a bunch of other original compositions and cover tunes. They managed to fuse successfully cover songs by Dave Dee, the Stones and Temptations with their own garage psych drenched songs, overpouring the whole of the album with s sleazy late sixties caveman garage popsike vibe. They went even so far to invite some of their fans into the studio while they were recording the track “Nashville Teens” and added by doing so a live atmosphere to the overall trashy nature of the song, trashy but still well balanced within the boundaries of decency. For “Satisfaction” the deployment of the fuzz pedal comes openly to the foreground, the new novelty tool that had just made its entrance onto Japanese shores and which was eagerly tested out by many garage bands. In all, their debut album that merged pop songs with a trashy garage punk psych vibe is extremely catchy and attractive and put the Jaguars up there on the top of the GS pantheon that began to fully blossom open in 1968. A sadly overlooked but totally classic album that these days just never seems to surface anymore. Housed in an astonishing gatefold sleeve in demented psychedelic artwork, this album is a killer if late sixties Japanese popsike garage psych is your thing. Still blessed with lots of ignorance and innocence, it sounds amazing. A true classic and becoming increasingly rare. Top copy! Price: 200 Euro

573. The JAGUARS: “Second Album” (Philips – FS-8045) (Record: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint) Freakingly rare original copy of the Jaguars 2^nd and last album, the one that always slips away. Hardly ever – if never – surfaces in top condition with all intact. Top copy and their rarest LP, complete with always missing obi. Original 1967~8 press, killer garage psych tracks. Side one are all originals, side two are all covers executed in a lysergic primitive way bringing you tunes like Cream’s “I’m So Glad”, “You Keep me Hanging On” and so forth. It all sounds psych trashy garage in a glorious primitive way and to these ears the covers sounds even more teenage insane and great as to the originals. Extremely hard to come by in such nice condition with obi intact. Just a top copy. Killer album to these ears. Price: 500 Euro

575. JAN DUKES de GREY: “Mice and Rats In the Loft” (Transatlantic – TRA-234) (Record: Excellent with only a very few hairlines/ Gatefold Jacket: Excellent). In one word, this disc is massive. Loose and raw, this LP possesses a built-in sense of intuitive taste which gives it immediacy and potency with everything flying frenziedly around, pregnant with a furious torrent. It ranges right up there with classics like Comus' First Utterance and Simon Finn's Pass the Distance, Jan Dukes De Grey's 1971 LP Mice and Rats in the Loft is a brilliant work of psychedelic folk with a seething undercurrent of malevolence. After their first album, the duo of Derek Noy and Michael Bairstow enlisted drummer Denis Conlan into their ranks and quickly disposed all notions of pop song craft to which they might have initially aspired. The final result was this beast, opening up with an un-commercial 19-minute sidelong "Sun Symphonica," a dervishly dynamic work of epic genius, fusing together a hippie paean to the sun with progressively darker and more twisted realms of sonic dementia. Infused with references to medieval idioms popular in British folk of this period and impregnating it all with a fireball energy that opens up whole sonic vistas you never dreamt were there. Axe wielding 12-string guitar, violin, cello, flute, clarinet, recorder, harmonica and a dizzying assortment of percussion, the trio plays with the eager of an experienced free jazz ensemble, excreting two sides opening up like a suite rising in intensity and energy until something just have to give due to the lysergic potion it all got stewed in. As "Sun Symphonica" trudges on through its many moods and phases, it gradually becomes clear that a distinctly pagan formula is at work, busting its true for virtual anonymity. By the 15-minute mark, the track is a swirling maelstrom of simmering instrumental fragments flying around the stereo channels in a lunatic dance, as the "sunshine" mantra returns once more. Side two sees the song experiences a radical break with structure and turns into a seething echo chamber of wicked guitar improvisation. The final track is also by far the strangest, the eight-minute title track, which creates a hypnotic whirlpool of electric fuzz guitar The energy and ferocity which have been mounting since the needle hit the first groove slowly accumulating in an almost vertical assent which comes on like a whirlwind. with musical behemoth's energies peaked to the fullest. Just jaw droppingly great and rare as peglegged golem on Christmas eve. Price: 450 Euro

577. Japanese Actuel – PAUL BLEY: “Ramblin'” (Actuel – Actuel-12) (Record: Near Mint/ gatefold Jacket: Near Mint/ Attached Insert: near Mint). Virginal copy! Another Actuel classic, top notch high level original 1^st Japanese pressing. They do not come any better than this. Get them while you can! Price: 20 Euro

588. JEAN FRANCOIS PAPIN: “Insane Dances” (Private – Upon Tyne 382) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint). Released in an edition of 200 ~ 300 copies way back in 1982, this is still an undetected gem out of France's sub-cultural sewer system. Still undetected by the larger crowd (or any crowd for that matter) but nevertheless impossible to track down, Jean-Francois Papin sole recorded artifact is one of these rare gemstones that surfaces every other decade or so. Music wise it sounds like a mid-seventies delicately crafted acid folk gem with Papin handling tubular bells, little bronze ashtray, millboard box, synthesizer, electric guitar. Acoustic guitar, bongos and maracas augmented at times with treated vocals that make him sound like the Wild Man Fisher, Ed Askew or ESP's Jim Holmberg (aka MIJ) all mixed up together. The strange thing is that we are speaking 1983 here and hell this disc does not even sound remotely like an eighties disc, more like a mid seventies homebrewed chaotically structured acid folk psych gem. Some tracks like “Insane dances” and “Bach Back?” were comprised out of live improvisations put upon live improvisations. So while being perfumed with some folky, psychy and lysergic touches, Papin also infused some avant-garde elements – such as one side that consists mainly synth dominated noodlings and spaced out musings – against his alter ego on the other side that sees him dwelling more into the loner downer demented acid folk with acoustic primitive guitar strummings against a minimal exploited electronic tweeting and fuzzed out guitar solos raging amok in the far back of the mix while his distorted vocals and desolate ramblings reveal either a mad genius in a straight jacket or a serial killer high on ephedrine. Speaking of a musically split personality, this is food for psychiatrists or for adventurous music geeks who like their sounds seriously twisted and hopelessly obscure. First time in all these years of vinyl sniffing that I encountered a copy I can spare. Truly demented music here folks, hard to pin-point and at times it reminds me of other luminaries out of France such as Heratius but then again not. Brilliance in disguise and a disc that will have you puzzled for days on end but once you get it, this one will haunt you forever, a classic. Price: 200 Euro

589. JEAN GUERIN: “Tacet” (Futura) (Record: Excellent ~ Near Mint/ Gatefold Sleeve: Excellent ~ Near Mint). OK, here you have it, a top copy of one of those French Holy Grail discs that stands there proudly rubbing shoulders with Red Noise, Semool, Horde Catalytique Pour la Fin and Mahogany Brain. Tacet had been the soundtrack of some obscure French movie “Bof, Anatomie d’un Livreur” directed by Claude Faraldo and released in 1971 on the highly collectible Futura label. This album is a weird one, filled with. Atonal sounds, a mix of acoustic instruments and absolutely stunning electronic sounds, echo, reverb, underwater bubbling combined with the extraterrestrial electronic experiments and absurdist vocals popping up out of the miasmatic whirlpool of sonic defunct bliss. Still don’t let this scare you off since it all boils down into one coherent mass of entrancing futuristic, yet primitive, avant-soundspheres that come over as a deep sea spacious sonic swamp recording reverberating with mysterious echoey effects, hypnotic rhythms and strange, theatrical vocals. Jean Guerin created an indescribable and surreal, futuristic and mysterious, liquid and spacious, echoing and sometimes grooving blend of electronics, instruments, abstract vocals and treatments unlike anything else ever recorded. It is one of those classic that will always sound refreshing whenever you put it on. In short a classic to these ears and almost impossible to dig up in this day of age. Top copy, don’t think they come any better than this one. Price: 500 Euro

591. JEANNE LEE: “Conspiracy” (Earthforms Records) (Record: Mint/ Jacket: Mint). Female vocals free Jazz monster by former Art Ensemble of Chicago vocalist Jeanne Lee. Like some reviewer somewhere pointed out, Jeanne Lee combines acrobatic vocal maneuvers with a deeply moving sound and quality that allows her to alternate between soaring, upper register flights and piercing, emotive interpretations. She's extremely precise and flexible, and moves from a song or solo's top end to its middle and bottom accompanying an instrument with a stunning ease. Though many critics have cited Lee as creating free jazz's most innovative vocal approach, she's done very little recording, almost none of it as a leader, and even less on American labels. So this one, “Conspiracy” is her greatest and maybe rarest ever effort to make it down to wax with her credited as a leader. She gets backed up though by some heavyweight champions such as Gunter Hampel, Steve McCall, Sam Rivers, Jack Gregg, Perry Robinson, Allan Praskin, Mark Whitecage and Marty Cook. Original 1974 pressing in mint condition that will make the earwax in your ears melt and dribble out, just that delicious this ear candy here is. Price: 350 Euro

592. JEFF MOORE: “The Youngest Son” (No Label, Private) (Sealed Copy). One of the rarest Canadian private presses, rumored to be released in an edition of 99 copies by some while other claim it had a 200 copies pressing. This is a still sealed copy. LP that has become one of the rarest and most highly sought after folk/psyche albums around and rightly so because the music is just jaw-droppingly great and spellbinding. The music, originally conceived as a high school project, is fragile, dreamy folk music with introspective and melancholy lyrics. The magical atmosphere that drapes the music comes from the youthful innocence of the band and their serious devotion to their music. And a beautiful voice of Christina Becker is infectiously unforgettable. This original copy features a fantastic silk-screened picture sleeve, which is still sealed shut. Better copies do simply not exist. Price: Offers

593. JEFFERSON AIRPLANE: “Surrealistic Pillow” (Victor – SHP-5640) (Record: VG++ - faint paper scuff hairlines/ Gatefold Jacket: Excellent). Original 1968 Japanese press of this quintessential album. Comes with Japan only gatefold version with completely different back cover design. Historical disc that may not be missing from any collection. Great copy of rare Japanese first press. Kaukonen is again all over the place and stellar. Price: 50 Euro

594. JEFFERSON AIRPLANE: “Bless Its Pointed Little Head” (RCA Victor – SRA-5507) (Record: Mint, Unplayed/ Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese pressing complete with its 1^st issue obi, all in top condition. “Jefferson Airplane's first live album demonstrated the group's development as concert performers, taking a number of songs that had been performed in concise, pop-oriented versions on their early albums -- "3/5's of a Mile in 10 Seconds," "Somebody to Love," "It's No Secret," "Plastic Fantastic Lover" -- and rendering them in arrangements that were longer, harder rocking, and more densely textured, especially in terms of the guitar and basslines constructed by Jorma Kaukonen and Jack Casady. The group's three-part vocal harmonizing and dueling was on display during such songs as a nearly seven-minute version of Fred Neil’s folk-blues standard "The Other Side of This Life," here transformed into a swirling rocker. The album emphasized the talents of Kaukonen and singer Marty Balin over the team of Paul Kantner & Grace Slick, who had tended to dominate recent records: the blues song "Rock Me Baby" was a dry run for Hot Tuna, the band Kaukonen & Casady would form in two years, and Balin turned in powerful vocal performances on several of his own compositions, notably "It's No Secret." Jefferson Airplane was still at its best in concise, driving numbers, rather than in the jams on Donovan’s "Fat Angel" or the group improv "Bear Melt"; they were just too intense to stretch out comfortably. But Bless Its Pointed Little Head served an important function in the group's discography, demonstrating that their live work had a distinctly different focus and flavor from their studio recordings.” (William Ruhlmann AMG). A psychedelic classic that still twists my head around till this day. Top copy. Price: 150 Euro

595. JEFFERSON AIRPLANE: “After Bathing At Baxter’s” (Nippon Victor – SRA-5522) (Record: Mint/ Gatefold Jacket: Mint/ Japan only Inner gatefold attached 4 paged booklet with artwork: Mint/ Neon obi: Mint). Top-notch copy, mint from start to finish and comes with Japan-only inner gatefold artwork. Price: 200 Euro

596. JEFFERSON AIRPLANE: “Jefferson Airplane-After Bathing At Baxter’s” (Japan Victor SHP 5684 '68) (Gatefold Jacket: Near Mint/ Record: Excellent, ~ Near Mint). Very rare J.A’s After Bathing At Baxter's in Japan only laminated psychedelic gatefold cover. Only '68 first pressing has this cool sleeve. A really beautiful copy of this subliminal West Coast acid drenched psych monster. This is the original Japanese press, released in 1968, housed in a totally different mind blowing cover designed by Tanaami Keiichi. A real sight for soar eyes that NEVER surfaces. Almost, if not a full-blown XXX rarity that is so rarely offered for sale. Great condition and the jacket has no storage or ring ware whatsoever. Price: 400 Euro

597. JEFFERSON AIRPLANE: “Golden Album” (RCA Victor – SRA-5121) (Record: Excellent, has one inaudible mark/ Gatefold Jacket: Excellent/ Obi: Mint). Hideously rare Japan only released Jefferson Airplane slide that comes in Japan only gatefold jacket and is pressed on multi-colored vinyl, complete with obi. Original 1960s pressing and hyper rare. Amazingly rare original 1968 Japanese only 14-track promo sample LP on the Victor label, pressed on incredible Psychedelic multicolored vinyl. Superb unique laminated gatefold picture sleeve with Japanese text & lyrics inside, plus a mind wrapping psychedelic Japan only jacket art that will keep you busy for our at night with a head full of acid. Mega recommended and a solid keeper!!!! Price: 500 Euro

598. JETHRO TULL: “Stand Up” (Reprise/ Victor Japan – SJET-8180) (Record: Near Mint/ Jacket: Mint/ Outer Jacket Cut-Out Obi: Mint/ Stand Up Figures within Gatefold: Mint). Ok boys and girls, time to get down and dirty with a heavy hitting monster rarity out of Japan, being this June1969 released original Reprise/ Victor LP by the Jethro Tull “Stand Up”, all complete with the never-seen-before cut out wrap around obi!!! I feel ya all, this one hurts…because you got blind sighted and didn’t saw this one coming. So I will spare you a musical rundown since I guess you are all more than familiar with this monster. In short, this complete edition 1^st pressing is next to impossible to dig up on these shores. So let me explain about the condition some more. The actual records jacket is total mint as well as the actual record, which I would grade in between excellent and near mint. The wrap-around-cut-out-obi sleeve I would conservatively grade at excellent, it looks pristine. The wrap-around-obi functions as a slide in that holds the actual record’s jacket and has the words “World New Rock” cut out. The whole die-cut is in excellent condition and intact with no defaults whatsoever. These wrap around die cut obis came out in a series of about 15 albums that next to the Jethro Tull held artists such as MC5, The Doors, Paul Butterfield Blues Band, Zappa’s “Uncle Meat” (last copy I saw of this one sold for 3000 euro here), Tim Buckley’s “Goodbye & Hello”, Pentangle 1^st LP, The Loving Spoonful, Rhinoceros, Sweetwater, Ansley Dunbar Retaliation, Joni Mitchell and Noel Harrison. And as far as this Jethro Tull LP is concerned, to make things even more mouth-watering, the stand up/ pop up figures in the gatefold are also in total mint condition. A genuine rarity with the large jacket size obi present in pristine condition and so forth. First copy ever I lay my eyes on that is in such a pristine condition…Price: 500 Euro

602. JOE MEEK & THE BLUE MAN: “I Hear A New World” (EM Records – EM1014LP) (Record: Near Mint/ Jacket: Mint/ 4-paged illustrated Insert: Mint). Japan only reissue limited edition of 666 numbered copies, this one being 166/666. Long out of print release from 2001. Originally released in 1959, this oddball psyched out weirdness LP was certainly light-years ahead of its time. It turned out to be an outer space pop music concept album, long before LSD, Pink Floyd, laser light shows. Meek's idea was to create a recording of what he imagined music would sound like on the moon. And he recorded it in stereo, although he was using his home studio at Arundel Gardens, which was outfitted with three mono recording machines. So to some extent one can vaguely lump it together with electronic exotica such Dick Hyman sort, but Meek again surpasses such lame diluted attempts at Space Age Music and takes into the next solar system as far as weirdness goes. He also elaborately used the clavioline as well as steel guitar prehistoric attempts at sampling sounds-- dripping water, toilets flushing, etc. all manipulated with Meek's array of homemade echo, reverb, delay boxes and oscillators. On top of this the voices are all overdubbed and run at various speeds, giving it a definite "other worldly" feel. So in a way it sounds sort of what I'd imagine the Teletubbies would sound like if they were a band and dropped heavy psychedelics on a daily basis. Meek broke all the rules as a producer but as a man he was also desperate. He turned to drugs and was a paranoid homosexual. His life was full of problems and heartache, which reached a breaking point. Whilst his mind was unhinged he murdered his landlady and blew his head off with a 12-bore shotgun. At least that is the official story since it has also been strongly suggested he has been murdered. The music he left behind though is nothing short of jaw-dropping. Price: 40 Euro

603. JOHN LEE HOOKER: “I Feel Good – Ashi Delta Blues” (Toshiba Records – SP-80025) (Record: Mint/ Jacket: Mint/ Obi: Mint). Bloody rare Japan only issue, first issue complete with obi. Top copy. “I Feel Good” brings together Hooker studio sessions that feature a crack backing band, with Lowell Fulson on lead guitar. With an emphasis on the man's famous boogie-woogie rhythms, Hooker pushes through these songs with a dark intensity--his guitar sending out raw, pulsing patterns, his understated vocal delivery sounding tortured and careless at once. In tracks like "Looking Back Over My Day" and "Come On Baby," Hooker downshifts to smoky slow-tempos, a mode equally perfect for his expressive, down-and-dirty guitar/vocal talents. His rapport with the band is particularly noteworthy, as the musicians seem to read the pacing of Hooker's songs and playing with ease. This is vintage Hooker that can’t be beat. Bloody rare mint copy 1^st original Japanese pressing complete with rarely seen obi. Price: 200 Euro

605. JOHN LENNON & YOKO ONO: “Wedding Album” (EMI Odeon – EAS-80702) (All Mint). Reputed box set, in stunni ng mint condition. So what do we have here, a stunning copy of this great avant-garde gem containing the outer box, Japanese obi, fold out LP jacket with disc in mint condition, bunch of inserts, snapshots, book, card, marriage certificate, postcard…everything is present making this a complete set, nothing missing and all in mint condition. The music on the disc on the other hand dwells in similar regions as the “Two Virgins” LP, composed of conceptual Fluxus offerings by John and Yoko. Demented and wicked stuff. Rarely seen in such immaculate condition. Price: 150 Euro

607. JOHN ST. FIELD: “Control” (Movie Play – S-32.738) (Record: Excellent/ Gatefold Jacket: Excellent). Freakingly rare 1^st original press, was only released in Spain at the time in a tine run that slipped completely under the radar, making that these days copies are way scarcer than you might think. One of the rarest Spanish released albums is this magickal one by John St Field aka Jackie Leven of latter day Doll By Doll. From the liner notes: “The Scottish singer and guitarist produced this album long before he was the wild front man of the critically acclaimed rock ensemble Doll By Doll. Jackie says that it follows an intense period of taking LSD in many different locations and circumstances. The result, drug inspired as it may be, is music still as artistic as ever. The sheer diversity of styles, tones and lyrics in this harmonic production made this album a great success. Even the issues covered again show us a great deal of variety. However, although this isn't the typical Jackie that we all know and love, it gives an interesting glimpse into the earlier psyche of one of the greatest living contemporary artists – you'll see a side to Jackie that you didn't know existed. Jackie Leven recalled the following about the album: “It is a fairly influence-free album in my opinion: I was listening at the time to a lot of American West Coast rock, also great players like Bert Jansch, but I can't honestly hear direct influences in the music, other than the desire to be good. Also I made a album under the alias of John St Field, mainly because I was in trouble with the forces of law and order at the time and felt that it was wise to change my identity for a while. However I cannot truly recommend changing your identity, taking lots of acid and making a record all close together. It is a bit of a strain but it is a lovely record I still enjoy listening to of a dark evening. The album was never released except briefly in Spain in 1973 and this was wholly because once I'd finished it, I continued living a life that had nothing to do with career structures and record companies could not continue working with an artist who had all but disappeared.” This is without any doubt one of the best and finest folk/ psych/ acid folk and probably all of the former but nothing even that comes close to comparison or generalization – albums of the early seventies. It is all of these styles encapsulated into one but then again it surpasses styles and trends and lives on its own elusive sphere that fails categorization and clear-cut definition. This album will definitely take you places but it will move you like no album has ever moved you before. Why? Well it comes over like awakening from a deep slumber when unconsciousness spills hesitantly over into aspects that really slow mix in with the rest of your mind. Here emotions and perceptions get transmitted by means of Jackie's rearranging of the universe into patterns reflecting his art. It will be one of the most beautiful and compelling albums you will ever hear during your lifetime. Take my word for it. Price: 650 Euro

608. JORGE BEN: “S/T” (Philips – SFX-7373) (Record: Excellent/ Jacket: Near Mint/ Obi: Near Mint). First original Japanese pressing with always missing obi present. A samba soul classic from Jorge Ben -- quite possibly his greatest album ever, and a true treasure through and through! The tunes explode with an amazing sense of energy -- driven by Jorge's great guitar and vocals, plus key percussive efforts from the Trio Mocoto -- whose sounds here are simply amazing, and create a unique undercurrent of funk. This is the album that set a whole generation on fire, and it's probably still one of the most-copied moments of Ben's long career. In contrast to the cerebral output of the Tropicalia camp in 1969, this album's much more visceral and personal -- yet no less revolutionary! It includes the classics 'Take It Easy My Brother Charles,' 'Pais Tropical,' and 'Que Pena. First original Japanese pressing with obi. Rarely surfaces with obi intact. Price: 60 Euro

609. JOS STEEN: “Electricity!! Music for Tape and Turntable” (Ultra Eczema – 48) (Record: Near Mint/ Jacket: Mint/ Insert: Mint). “Jos Steen is a remarkable outsider in the purest possible sense of the word! Telling stories about the dude always sounds like they're untrue or seriously exaggerated, the way he lives sounds like a fairytale and the way he acts would resemble the heaviest mix of Bukkowski and Bobby Colombo. Jos lives in a tiny house underneath a radio tower of the national TV and radio station "VRT", where he works as an audio librarian, the house is built on the highest point of the area in a forest, you can see it from miles and miles away, it's tiny but can be called a museum! It is full of self-made instruments and broken pianos, amazing wooden string instruments made of garbage and all kinds of foreign instruments no one remembers the name off.  Since around 1964 Jos has been making poems, stories, paintings, collages, drawings and music/sound to kill the demons in his head or jam along to their forceful blues! Some call him "the Belgian Beefheart" and the people that already forgot about Beefheart talk about a local Little Howling Wolf.  Jos always made self released zines, tapes and more recently mountains of cdr's of homemade blues, broken bottle experiments and heavy free music folk. This lp is a selection of tracks of a recent cdr of tape and record player experiments spiced with vacuum cleaners, rotting voices, indefinable strings, piano's etc.. It's absolutely unthinkable his work could be potentially lost in time and space, for fuck's sake, the dude is a genius!!!!!!  In the past Jos played with free jazz greats like Peter Jacquemin, André Goudbeek, Yvo Van Der Borght, with poetry psychos like Roland Topor and Freddy De Vree, and with Zappa's own Jimmy Carl Black who begged on his bare knees to play with Jos, well maybe that’s exaggerated as well.” (United Mutations). Price: 35 Euro

610. JOSEPH BEUYS/ HENNING CHRISTIANSEN: “OP.50 Requiem Of Art – Schottische Symphonie – Aus Celtic” (Edition Schellmann, Munchen/ Published by Galerie Bernd Kluser) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint/ Enclosed 8 paged heavy textured booklet with fully illustrated colorful scores by Henning Christiansen: Mint). Extremely rare Fluxus related artifact, recorded in 1970, this is the 2^nd gallery edition press out of 1986 which just never turns up. The music on display is fantastic. Minimal drone infested soundscapes, doomy church organs, lethargic speech deprived vocal chord raspings, cacophonic bells and tweeters fusing neatly together, voices popping up out of nowhere, cries and rants, score and tape manipulations arising above a monotonic maelstrom, fragments of field recordings popping up and disappearing again, airplanes circle aimlessly above it all while Henning keeps on humming/ ranting away in between all the activity on display. Henning became in the 60's a prominent figure in the Danish Fluxus movement and soon began collaborating with legendary artist Joseph Beuys at Düsseldorf. Nearly all elements which occupy the floor space of the installation stem from two performances: the first with the title "Celtic (Kinloch Rannoch) Scottish Symphony", which he performed together with the Danish composer Henning Christiansen at the Edinburgh College of Art, twice a day, from 26-30 August 1970 One part of the elements are relics of an action, others are the results of lectures and workshops, which Beuys gave on various occasions. Beuys's performance was described by Alastair MacKintosh as “taking place in a large studio in the Edinburgh College of Art. Five tape recorders under the operation of Beuys's collaborator Henning Christiansen were running. Beuys's action was to sit, but with a "sense of concentration, of possessing himself... scribbles on a board and pushes it around the floor with a stick in a forty minute circuit of Christiansen.” Especially remarkable on this set is Henning's “Requiem of Art”, a live tape collage weaving together some flashes of Satie's “Mass for the Poor”, beer hall and football cries, cars, boats, hammers airplanes, and some creepy recitations. In all this is a great piece of sound art that resembles rummaging through the wreckage of an Alzheimer detoriated mindset, encountering snippets of long lost soundbites from various times, experiences and places and trying in vein to reconstruct the patient's history through sound. Truly music to wrap your brain around. Highest possible recommendation!!!!! Price: 200 Euro

613. JU SUK REET MEATE: “Do Unseen Hands Make You Dumb – 1978/ 1979” (Pig Face Records – 004) (Record: Excellent/ hand painted and sprayed Jacket: Excellent). Freaking obscure original 1^st pressing, housed in handmade and spay painted jacket. Each jacket was different and some came with inserts and junk, some came without. “Privately pressed at the end of the '70s, Smegma member Ju Suk Reet Meate’s LP was lost to all but a handful of the early avant mash-up enthusiasts. Meate’s roots in bluesy rock and roll are more apparent here than on Smegma's recordings, and the early signs of plunderphonics are here, with passages stacked amidst vocal tape experiments and acoustic bass, kneaded together like a string of dough. This style of loop and layer is mostly impressive in hindsight. This guy was doing it in the late '70s; today’s cassette loop and 4-track stoners aren’t reinventing jack. Solo 78 / 79 makes this style actually seem like a purposeful style as opposed to a hard drive garbage disposal. Meate’s also keeping it a lot cleaner than today's lo-fidelity experimenters; too much material these days comes in a standard dress code of murk and hiss. His interest in a sound world where not everything ends up in a mighty white noise freak-out is a message worth reissuing. While some of the sample material may sit a little on the dated side now, this was raw in '78-'79. Along with the rest of the Smegma collective's work, this record is yet another root of today's noise/free/drone sound, and proof that much of this crowd are merely freewheeling down well-worn paths.” (By Scott McKeating – Dusted) If you are into the whole LAFMS angle of wicked, demented and adventurous sound, then this disc is just as obligatory as anything else. One problem though, bloody hard to dig up originals of this beast. Just awesome and it rides high on my list of personal favorite recordings. Highest recommendation. Price: 350 Euro

614. JUAN DE LA CRUZ BAND: “Himig Natin” (Sunshine – TSP-5104) (Record: Near Mint/ Jacket: Excellent). Clean original copy of their 2^nd album. Tremendously junked-out hard-rock powerhouse psych combo heralding from the Philippines. Totally rocked out bluesy stoner jams, with sex and party obsessed lyrics thrown right in your face. The merger of Gonzales – Hanapol and Smith was the ultimate get-together, resembling a marriage made in heaven that fused the vilest kind of bait consisting out of a druggy low style, amphetamine high speed and rock’n’rol pure dumbness embalmed into one explosive and utterly addictive cocktail that will crack open your skull – just like dicing into a pool that got emptied yesterday. Smith, who previously played in the equally primal Japanese psych/rock band Speed, Glue, & Shinki got the perfect delivery for this stuff, setting your nuts on fire and sending up a silent scream down your throat. This is a psychic maze bringing down a cloud of lysergic hellish intensity that disintegrate into chaos, drunkenness and the kind of hysterical fatigue that comes from spending too much time with your nose into highlife powders. Just fabulous. Top copy. Price: 550 Euro

615. JUAN DE LA CRUZ: “Maskara” (Sunshine – TSP-5127) (Record: Excellent/ Gatefold Gimmick Jacket: VG++). Original 1974 Philippine pressing of this rare album. Record has some faint scuffs but for a Philippine pressing this baby is in top shape. Rare gatefold pressing with the gimmick eye window. Normally copies you see offered are the 2^nd pressing that came in a black single jacket, this one is the gatefold. Third album by these Philippine dopeheads armed with instruments and turning them into weapons of chemical warfare. “Maskara” turned out to be the band’s magnus opus, constructed out original compositions of acidic fuelled up heavy psychedelic rock. Line up consisted out of Wally Gonzales (guitar), Mike Hanopol (bass) and former Speed Glue & Shinki drummer Joey ‘Pepe’ Smith, a marriage made in heaven and going for the kill. Their sound is psychotically sick, bordering on the exotically doped-up and trashed out strip joint stoner sound of a 1974 Manila, Juan De La Cruz took up where Speed Glue & Shinki left off. The end result was a lethal mixture of heavy psychedelic blues-rock and tremendously junked-out hard driven and smacked out guitar psych of the upper level. While listening to them I always get the urge to swill beers at a feverish rate, cut some lines of Charley on my desk and slowly disintegrate into a chaos of drunkenness, cut up with cheap psychedelics eventually heading towards the kind of hysterical fatigue that comes from spending too much time around an ugly group of mutants that populate the local insane asylum. The sound of the rising edge of a speed trip. Just massive. Regarding the condition: The jacket however would be EX all way round if it weren’t for the unhinged but still hanging together spine, rest of jacket is nice with hardly any ring wear. Record is clean for a Philippine pressing, has some faint paper scuffs so EX all the way for this brutal beast. Price: 500 Euro

618. JULIE: “S/T” (Polydor – MP-1465) (Record: Excellent/ Gatefold Jacket: Excellent/ Obi: Excellent/ Outer Imprinted Plastic Gimmick Cover: VG++ - has some signs of the ages/ Tadanori Yokoo Designed Poster: Excellent). First solo album out of 1971 by ex-Pyg front man and vocalist Sawada Kenji. After the dissolvement of the super group Pyg, Sawada started off his solo career under the Julie moniker and this self entitled album was his first solo effort. Pyg already hinted at Sawada's predilection towards the finer arts of Enka and Kayokyoku and with Julie this was exactly the waters he would dabble into. Gone are the western-styled rock antics, traded in for a rejuvenation of traditional styled song aesthetic. Still, a western sounding flavor keeps on seeping through his Japanese rooted choice of songs, the arrangements are far removed from the kayokyoku escapades that carved out successful careers for Takakura Ken and cohorts and instead Sawada infused them here with a glamour reminiscent to a Sunset Strip go-go lounge bars, movie-styled orchestral arrangements and a lounge jazz bar flavor, spiking and revamping the genre with a shot of youthful adrenaline. And to complete the hypness of the whole venture, Sawada joined forces with visual artist Tadanori Yokoo who designed the jacket, with poster included, giving the whole an arty and glamorous allure. Jacket comes housed in an extra outer plastic gatefold sleeve, onto which Sawada's face is imprinted, obi, fold out poster and gorgeous back flap design, heralding a new age and nouvelle vague in the Kayokyoku genre, spicing it up with enough youthful allure and balladry syrup but without neglecting the older elements that made the genre bigger than life. Very successful album, great listening experience if the marshmallow styled fluffy song-craftsmanship-like clouds in marmalade skies can caress your earlobes. To me it sounds great, but then I am a sucker for these things. If you were into the whole PYG sound, this should make for some interesting follow-up listening. Recommended. Price: 50 Euro

620. JUNI RUSH: “Together b/w She’s My Lady” (Mushroom Records – CD-147-Z) (Picture Sleeve: VG++ ~ EX, has been fortified neatly around edges with cellophane tape/ Record: Excellent). Freakingly rare single only release by former Helpful Soul and Too Much front man Juni Rush before he disappeared into the urban jungle of homeless shelter seekers. Hardly ever turns up for sale and if so it is usually in the 600-euro realms. This one is not the best copy around but nevertheless a solid keeper one most of you will take pleasure in. If you are after completing your Helpful Soul and Too Much alliances, then this is the last artifact to go for, just before Juni Rush sunk away in a deep abyss of alcohol and drug abuse, eventually resulting in him living on the streets. Gets backed up here by Vodka Collin’s own Alan Merrill. Price: 150 Euro

622. KAGEL, MAURICIO: “Acustica” (Deutsche Grammophon – 2707059) (2 LP Set: Near Mint ~ Mint/ Laminated gatefold Jacket: Mint/ Attached 4-Paged Booklet: Mint). Top Copy of this groundbreaking masterpiece. First original pressing. “Mauricio Kagel’s Acustica (1968-1970) is a hugely ambitious and effective combination of electronic and acoustic sounds. Kagel uses only a few conventional instruments, and they are unconventionally employed (i.e., a trombone has a plastic tube inserted in its bell, with the other end of the tube in a tub of water). Mostly, though, he uses ancient or folk instruments (such as a nail violin, thumb piano, bull-roarer, and castanet keyboard) or instruments of his own devising (such as playing a turntable with a funnel, directing the flame of a blowtorch into a metal tube, running wind-up toys down a conveyor belt, and twisting party balloons). The score is written on 200 index cards, and the five players have considerable freedom in the timing and coordination of the events. Kagel doesn't have a free-for-all in mind, though; his directions are almost ridiculously precise: "With both hands, raise violin extremely slowly from the table -- not more than 10 cm. … The violin rests for c.10 seconds on the table … and is then held in front of the face. Bend head right back. Stay still." The rigor of Kagel's directions highlights the fact that the piece is intended to be as much a theatrical as an acoustic experience. Even in this purely aural form, though, it's endlessly fascinating, not only in the variety of its unique and largely unrecognizable sounds, but in the way that, somehow, it coheres into a meaningful musical experience. The CD includes two very different versions of the piece, demonstrating the extent of the discretion given to the performers. Even the tape part, which remains the same, sounds different when heard in contrasting acoustical contexts. The CD should be of strong interest to fans of the avant-garde and of found and newly created instruments.” (Stephen Eddins, All Music Guide). Top copy original pressing. Price: 175 Euro

623. KAJI MEIKO: “Hajiki Uta” (Teichiku Records – CF-33) (Record: Mint/ Gatefold Jacket: Mint/ Circular Obi: Mint). Top copy with circular obi intact!! This was Meiko’s second album, released in 1972. Stunningly beautiful and stunning condition. Gatefold jacket with obi present. The disc contains some of her greatest Showa and Taisho infested songs fueled up with burning fuzz leads and sweltering orchestrations. Superb copy of the almost impossible to trace and utterly rare but nevertheless much in demand Kaji Meiko album. Kaji Meiko released a string of albums but she started out on Teichiku Records. This disc is from her beginning period and marks her at her all time best and most glorious effort. Delicate ballads and kayokyoku styled songs, sung in her highly erotic and stunning voice that gets backed up by some jazzy session musicians, all complete with the additional strings and electric guitar and fuzz ripping insertions, making it that her songs deviate from the traditional and ordinary Kayokyoku path and dabble a bit with psychy influences. She was one of the original hippie chicks’ way back in 1967, together with Wada Akiko, so it shows. Apart from that all is also one of God’s most stunningly creatures ever to roam the face of the earth. Extremely sought after and great record by this actress/ singer who got international mondo cult fame through her Sasori and Lady Snowblood movie flicks during the mid-seventies. Circular obi intact, which is a rarity on its own. Highest recommendation. Price: 55 Euro

624. KAJI MEIKO: “Sareyo Sareyo Kanashimi No Shirabe” (Teichiku Records – CF-58) (Record: Near Mint/ Outer jacket: Mint/ Inner hard sleeve jacket: Mint/ Insert: Mint/ Obi: Mint) This is one of the last records she did for the Teichiku Records label and is one of her rarest records to come by, due to the gimmick cover art that is all complete here. The disc sees Kaji Meiko molding into being a sort of a concept album, a feat she would fully round of with the “Kyou no Ware ga Mi ha…” on Polydor Records. The cover is stunning and elaborate, containing stunning and rarely seen photos of her, wrapped up in a full record jacket sized obi one has to peel away in order to be able to grace the actual jacket. Great female vocals sets against an enka/ kayokyoku backing and a sentiment brimming over with desertion, while at the same time exhibiting some erotic flashes of grandeur. Great all over. Her Polydor discs are quite scarce and especially this one is rarely seen, complete will all the gimmick cover art in immaculate condition. Highest recommendation. Price: 90 Euro

630. KAN MIKAMI: “Mikami Kan no Hitorigoto” (Columbia – YS-10114-J) (Record: Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint). Ultimate top copy, completely near mint condition. Wow, here you have a disc that hardly surfaces at all, the second album by Mikami Kan, released in a tiny run in 1972 on the major Columbia. Tiny run since the disc failed to sell well, resulting in the company withdrawing the remaining copies left lingering around in shops and destroying them. Hereafter, Mikami would shift change labels and move towards the URC folk camp where he recorded the “Hiraku Yume” disc. Still, his Columbia days were quite a different affair than the style he got renowned for at URC and later even PSF. Although that his unmistakable trademark style is already omnipresent, Mikami sounds more melancholic and high on his rural roots, drawing blood directly from his childhood musical influences like deprived enka blues, the barren land and wind swept plains of Aomori, Tsugaru minyo and so much more. The A-side of the album depicts Mikami out on a limp, wailing away alone with as solo accompaniment his rudimentary guitar strumming and sounding more fragile and vulnerable than his later outings. He sings into being chilling versions of songs, of which some would resurface on his later albums but reshaped into total different versions. Here they still sound utterly fragile and lonely. So great. The B-side sees Mikami backed up by some stripped to the bare minimum accompanying musicians, attributing to his compositions a total different mindset and feel. Here, his rooting become more overtly clear and he sounds even lyrical at some points. Creeping and chilling to the bone stellar stuff. It is here that it all began and unlike any other recording of Mikami you have ever heard. You will get goose bumps just from spinning this disc, 100% pure beauty embodied by this rough edged howler while he was barely 20 years old. The A and B-sides are totally different moods and mindsets of music, making this a highly diverted album that does not contain one bad note. A classic and one of my all time favorite Mikami discs. Historical and almost insanely rare. Comes in a nice foldout jacket. Melancholic and depraved acid folk to the max. Killer material all round. Price: 175 Euro

631. KAN MIKAMI: “Hiraku Yume Nado Arujanaishi” (URC Records – URG-4011 – 1972) (Record: Near Mint/ Jacket: Mint/ Obi: Mint/ Insert: Excellent). Super clean and seemingly virginal copy. Comes with insert and thick carton foldout jacket. First press original copy. Needles to say hard to come by. Mikami Kan's dark, nightmarish lyrics and screaming intensity put him way ahead of the field of jangling acoustic losers with their pretty harmonies and pastoral sweet oozing world views. His violent, disturbed and possesses an unpolished rawness. Unlike Tomokawa, Mikami is not so lyrical and is rougher shaped around the edges, making him an outstanding acid folk jangler. This is an early Mikami album that was released in April, 1972, a period that is considered by many aficionados has is best. Raw, violent and right in yer face, an all time classic disc that is great from the first howl till the last demented scream. Utterly fantastic, but sadly enough hard to come by. Price: 85 Euro

634. KAN MIKAMI: “Concert Live – Mikami Kan 1972” (URC Records – UX-8022) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Excellent ~ Near Mint/ Obi: Near Mint). Complete original 1972 press copy with obi in top condition. Brilliant Mikami Kan record that again turns up rarely. Completely acoustic set of depraved acid folk desperations and rural rumbles. Completely acoustic and facing the crowd alone is the perfect conditions for Mikami to operate under. Recorded after his much acclaimed “Hiraku Yume Nado Arujanaishi” this disc sees him embarking on some of the same material but reworked and reshaped in the new settings of a solo acoustic gig. Mikami Kan’s dark, nightmarish lyrics and screaming intensity put him way ahead of the field of jangling acoustic losers with their pretty harmonies. His violent, disturbed and possesses an unpolished rawness. Unlike Tomokawa, Mikami is not so lyrical and is rougher shaped around the edges, making him an outstanding acid folk jangler. This is an early Mikami album that was released in 1972. a period that is considered by many aficionados has is best. Raw, violent and right in yer face, an all time classic disc that is great from the first howl till the last demented scream. Utterly fantastic, but sadly enough extremely hard to come by. Stunning cover art to top the whole affair off. What can you possibly ask more for. Killer material. Rare with obi intact. Price 150 Euro

636. KAN MIKAMI: “Bang” (URC Records – URG-4022) (Record: Near Mint ~ Mint / Gatefold Jacket: Mint/ 4-paged Insert: Mint/ Obi: Mint). TOP COPY!!! Original first pressing in gatefold jacket complete with obi and insert. Upon rotating ‘Bang”, the music will hit you with its sheer unbridled power and inventiveness as hard as a one-man genocide roaming freely through the hills of Sarajevo. Like guns coming out of the demon hole, “Bang” is filled with avant-garde elements and chanson-esque fragrances colliding head-on with each other. Tape splicing techniques, musique concrete excursions, hard-folk strummings, free-jazz like interludes and insertions, saxophone dementia; it is all there, making “Bang” a highly unique and idiosyncratic tour-de-force that remains unequaled till this day. Just as a suicidal novelist penning down his final masterpiece, Mikami defies here by his very nature the consistency his larger back catalogue is stringed together with. “Bang” is his quantum leap into the stratosphere, embracing a variety of elements and molding it into a condensed but nevertheless diverse and chaotic mix of styles that make up his unique private universe. Highest recommendation. Price: 125 Euro

637. KAN, MIKAMI Etc – PIRANHA GUNDAN: “Piranha Gundan” (Bellwood Records – OFL-40) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Fold Out Insert: Near Mint/ Poster: Near Mint/ Sticker: Mint) First truly complete copy I can offer, complete with sticker and all. Released in 1977, this is a rare Mikami Kan related album that hardly ever turns up anymore. Produced by Mikami Kan, he assembled around him an all star cast of actors who breathed life into some of Mikami Kan’s penned down verses and songs, adhering to it a beautiful and dazed deep sub-terrestrial take on outer-limits enka escapades and sake drenched bluesy escapades into the smog infested mists of cosmopolitan grandeur. Romantic but yet at the same time desolate and drowned out, vibrating but burned down, resonating fully with a sub-cultural domestic vibe that seems to be long gone and completely extinct. A blood-curdling beauty of a disc that sounds utterly Japanese. Mikami recorded some years later a solo acoustic version of this album that came out only as part of his 13 CD box set on PSF. But here is where it all began in 1977. Goose bumps exasperatingly great. A lost treasure floating in the death air underneath Japan’s psychedelic rock universe. Enka killer disc. First original press and getting bloody difficult to track down in a mint condition. A give-away price…. Price: 150 Euro

638. KAN MIKAMI: “Kotoba – Nonsense – Ningen” (Victor - SF-10048) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent/ Obi: Excellent). Great mid-seventies (1975) Mikami Kan recording filled with soar sounding and drowned out demented folk songs heavily impregnated with austere enka and kayokyoku influences and spiced up by the rural dementia of his native Aomori. Without a single doubt Mikami Kan is one of the greatest singers and guitar strummers alive, even till this day. If interested, even vaguely, in Japanese outward sounds and sub-cultural expression forms, you cannot avoid Mikami Kan. Only superlatives apply to him and this disc is not different. Brilliant all way round and the perfect companion for those lonely sake binge late night excavation trips. All time highest recommendation at a bargain price. I must be nuts. Price: 75 Euro

639. KAN MIKAMI: “Blue Flame on the Destruction” (Victor – SF-1053) (Record: VG++ ~ Excellent/ Jacket: Excellent/ Insert: Excellent). Original 1975 wicked folk slide by Mikami Kan. Filled to bursting with expressive folksongs, intense and controversial excursions into the underbelly of Japan’s 1970s cultural high flight. Total essential addition to the classic slides by Mikami. Price: 50 Euro

641. KANEKO JUTOK: “Endless Ruins – Kaneko Jutok Solo” (PSF Records – PSF-126) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 4-paged Insert: Mint). Limited to 300 copies pressing. Comes with 4-paged insert. Pressed in an edition of 300 copies. “Jutok Kaneko is not a name that will ring too many bells among lightweight cognoscenti of the Japanese psychedelic underground, but too those with sharper ears and deeper wallets the news that Tokyo's OTHER black-clad guitar master has finally made a solo album is true cause for rejoicing. Kaneko is known, if at all, as leader of Kosokuya, one of the most idiosyncratic and least appreciated rock groups in Tokyo. The group has been in existence since the late seventies, pounding out a unique take on the space-rock idiom that sucked crushing chords and spiraling solos into the heart of blank, bleak emptiness. Not as career-minded as certain other scenesters, the group only released three albums over those 22 years (Ray Night 1991-1992 Live on Forced Exposure, and The Dark Spot collaboration with Masayoshi Urabe on PSF [PSFD-90] are still available). Although Kaneko frequently guests at improv gigs in Tokyo, non-Kosokuya recorded appearances have been equally rare, encompassing only a duo album with Rinji Fukuoka on Pataphysique and a very limited live improv video with Chie Mukai and others. Hence the excitement at this solo release. Naked and mostly alone, Kaneko hurtles into a deep, dark hole of his own devising, his immensely distinctive vocals howling out his pain as his guitar shoots out pulsating tendrils of beautiful black light. Stylistically not that distant from Kosokuya's deployment of heavy space, it's at once a depressingly nightmarish and exhilarating sound, utterly unique. On two tracks he ploughs a deeper furrow with the help of Takuya Nishimura (Che-SHIZU) on bass, and Koji Shimura (ex White Heaven, Mainliner) on drums. One for those select moments when you dream that Jandek had jammed with Quicksilver.” -- Alan Cummings. Price: 50 Euro

642. KANENOBU SACHIKO: “Misora” (Vivid Sound – VSLP-4014) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Heralded as supposedly the first Japanese female singer- songwriter, Sachiko Kanenobu's debut solo outing from 1972, Misora (Beautiful Sky), has an aura of legend. A hard-working presence in the burgeoning Osaka folk scene in the '60s, Sachiko worked for record labels and various bands before striking out on her own. Quickly after spreading her wings, she managed to score record deal, resulting in this sole recorded album here. Although her disc had all the potential of reaching a wider audience, Sachiko failed to back it up with live gigs and other promotional support due to her relation with American music critic, Paul Williams. Her love for him forced her to trade the Japanese archipelago for America just three months before Misora was released. Without her in Japan to promote it, the record sank without a trace. While being in America, she attempted to revive her career and got some support from friends such as sci-fi writer Phillip K. Dick, who had befriended the couple following a piece Williams had written for Rolling Stone about him. Dick, a longtime music obsessive, had always nurtured a secret longing of producing a female singer-songwriter, but before he could realize his childhood fanatasy he unfortunately died of a stroke. So Sachiko's album sunk between the cracks of time until the early '90s when musicians such as Cornelius, Takako Minekawa, Kenji Ozawa and a bunch of influential psychheads/ writers began citing Misora as a major influence. Her music is softly delicate, luminiscently dreamlike, possesses a sping-like fragility and can be – to some extent – be compared to a youthful struggling out Joni Mitchell. Still her innocent flair together with the delicately crafted accompaniments of flute and guitar add some languid moods and chimeric drowsiness to the overal narcoleptic atmosphere. Some US critic utterde that Sachiko's may have influenced delicately Japanese female vocalists such as Takakao Minekawa, Tujiko Noriko, and Mineko Itakura from Angel'n Heavy Syrup. It is a nice thought, but I am afraid that is/ was certainly not the case until Vivid reisued her LP as a ltd 500 copie LP back in 1996. Before that, Sachiko's LP was just way too elusive and almost impssible to get. Original copies – if they surface here in Japan – change hands from 500 dollars on and more. Still this ltd repress is a beauty, making the rediscovery of Sachiko a true delight indeed. Beautiful! Price: 50 Euro

643. KANOU HIROKO: “Amaete Iiwa b/w Kami Ni Negai O” (Columbia – LL-10088-J) (7 Inch EP: Excellent, has a few paper scuff marks/ Gatefold Pinup Sleeve: Excellent ~ Near Mint). Original 1969 copy of this great late night, smokey vibe erotic chanteuse Kanou Hiroko, breathing into being two musky nightclub, sake drenched and smoke stained songs executed with a backing that suits perfectly her gravel-erotic voice. Kanou’s vocals and the way she ushers out her words and syllables are enough to let your mind color in the imaginary landscapes and settings she adequately evokes in a very titillating way. That combined with the elegant but very stripped down backing executing the music in only essential and minimal cocktail lounge features brings out perfectly the almost hushed like vocalizations of Kanou, enabling her to punctuate certain syllables by a gush of escaping air and soft lingering consonants, making the whole even more arousing and bringing out a very agreeable sensation within the listener. So the band and the female singer merge wonderfully well, her voice is warm, soothing and is gifted with that late night laid back smokey feel. Truly wonderful 7-inch that hasn’t left my turntable in between the heavy psych and avant-garde sessions, bringing in an oasis of flowering beauty and simplicity that sounds oddly normality but succeeds in transcending it nevertheless by steering straight into blissful modal atmospheres. Makes you realize how much beauty a simple song can contain, without embarking into testosterone infected macho bravura. So while enjoying this gem, it transports me instantly towards a lush sofa somewhere in a dimly lit cozy hotel lounge on the Ginza strip while enjoying a brandy, a good Cuban cigar and an expensive scarcely clothed call girl with a feathered boa entwined around her neck. Blissful in every way. Highly recommended Price: 80 Euro

644. KAREL APPEL: “Musique Barbare” (The World's Window – 99954-DL/ Philips Records) (Record: Excellent/ Hard Cover Jacket: Near Mint/ Attached Picture Book: Near Mint). Original hideously rare 1963 pressing!!!!! “I paint like a barbarian in these barbarian times” Appel often told journalists and the same can be said about this recording eh made. In 1961, Jan Vrijman made a movie about COBRA expressionist painter Appel and the artist himself provided the soundtrack to it, completely erected and recorded with devises set up according to his directions in the electronic music studio of the Utrecht University. Some conventional instruments were also added to the mix at the Phonogram Studio in Hilversum. The soundtrack – which you see here – came out in a delusion eye popping beautiful book like hard cover jacket with cloth bound spine, contained a 30 pages counting photo book for which Jan Vrijman the text wrote with pictures of Appel taken by Ed van der Eslken. On the LP, Woebot wrote some nice words: “Quite a few famous artists have made records. I have seen LPs by Salvador Dali, Kurt Schwitters, Jean Dubuffet and Jean Tinguley. Usually the great men are assisted by a few musically-inclined chums. I've always been fascinated by Karel Appel, the Dutch "Abstract Expressionist" and founder member of COBRA. That collective's stuff pushes at the boundaries of the acceptable, it takes Expressionism down one of it's ill-trod paths, towards a scatalogical, wilfully out-of-control naiveity. I'm surprised COBRA isn't a bigger touchstone for musical things like Throbbing Gristle, Gabba etc. It's one of those rare instances of a hooligan bourgeois art-form.” (Woebot) In my book, this is one of the best ever recorded electronic art discs ever and Appel just sounds like he painted. Aggressive, wild, going berserk while shouting “My paintbrush is a rocket” which gets carried away in a maelstrom of electronic sounds, a tsunami of noise and assorted debris and we are talking 1961 here!! This is noise avant-la-lettre, but not like the noise salon bourgeois kids shit out these days, this on the contrary is quite mind alteringly innovative, rich in sonic texture and challenging upon spinning it. If I had to choose one disc to cling onto I would probably take this one. I have seen a VG+ copy listed for 800$ somewhere, this copy here is a good as they come a solid EX for the disc and near mint for all the rest so…..Price: 600 Euro

645. KARG, JURGEN: “Elektronische Mythen” (Mood Records – 23-555) (Record: Excellent ~ Near Mint/ Jacket: Excellent, some minimal storage wear). Recently bootlegged on CDR by the US Creel Poon imprint, here is the real deal. Dark and atonal deep space free-synth concrète & chiming metallic minimalism from one-time Wolfgang Dauner sideman Jürgen Karg; two 20+ minute/side-long suites.. And some info. “Jurgen Karg is a classic-period obscure and eccentric German artist, mastering the sound of electronic conceptual music with an extra touch of experimentation and loud-punctured art. His only solo record is the rare “Elektronische Mythen”, released in 1977. Kärg is more known however for his collaboration in Wolfgang Dauner’s “Psalmus Dei”, along jazz artist Eberhard Weber and other musicians. As much as Dauner’s successful album speaks of profound (and somewhat eclectic) music, Karg’s album is not to be skipped by connoisseurs, being on the verge of heaviness, trippiness, avant-garde and cerebral electronic convulsions, still staying focused on complex, atypical, intense and resourced music. Strange and artistic, Kärg’s work shows the late 70s aren’t at all dried out of electronic abstract experiences. Brewed with a professional gear of electronic/processing equipment, the album, composed of two side-epics, is both a schematic and free, incisive work, starting from the base of free-synth electronics and dense artificial sound and extending to a fragmentarily drilled concept of art and a surreal impression of a pressured, clamping “kosmische” dream, in light of experimental and less-musical style connectors. “Elektronische Mythen” is, at the surface, an outburst of programmatic electronic art and a technical/mechanical work of sounds, becoming, in the essence, a serious, minimal and provocative play. Karg’s album is referenced as a mixing (or shifting, in an random and torrid way) work of concrète electronic (the “academic” side) with krautrock, electroacousticism, tone/tape music and space, surreal, abstract or noise bits (the “hyper-artistic” side), names like François Bayle, Edward Zadja, Conrad Sshnitzler, Asmus Titchens, Kluster or Stockhausen coming in mind the same way. Jürgen Karg’s solitary classic is definitely a demanding, obscure, artistic recommendation, fitting in the electronic prog current more in an extensive than formal way”. (Victor Philip Parau/ Ricochet). Rare electronic deep space concrete album that only very rarely surfaces. Still largely unknown, the music rubs shoulders with the best artifacts exploring similar sonic depths. Ultra recommended!!! Price: 60 Euro

647. KATO KATSUMI: “Paris II” (Vertigo – FX-8608) (Record: Near Mint/ Jacket: Near Mint/ Fold Out Insert: Excellent). Top notch copy on the highly collectible Vertigo swirl label. Kato Katsumi’s third album, this time released on the Vertigo label. Hardly ever turns up! This was Kato’s third and final album and also his all time best. Following his debut of 1969, Kato went again to Paris in 1972 (album released on January 25^th, 1973) to record his final solo album. Delicately arranged by Christophe Gaubert and flanked by of Hariuchi Mamoru and guitarist Hidaka Tomiaki (who would later in 1986 sadly commit suicide) of the band Garo who provide some excellent executed backing by spicing up the whole recording affair with delicately carried out guitar licks and bass throbbing, matching eloquently the moods Kato tries to evoke and creating in the end a delicately crafted, well-balanced and astonishing piece of musical and lyrically challenged sonic poetry. Next to all that Kato’s vocal abilities are at their peak. Like balancing on a musical tightrope that is poppy, soft psychedelic tinctured, rocking brilliant and folkish textured at times, “Paris II” is a fully piece of art churned out by a matured and seasoned troubadour that deserves wider disclosure and much more public acclaim. Great album that grows on you with each repetitive listening experience until the tunes hum back at you from deep below your skull. Just excellent and brilliant. A sadly overlooked and astonishing masterpiece. Every seasoned music lover needs a copy of this gem. Highly recommended. Price: 175 Euro

648. KAWABATA MAKOTO: “Kawabata Makoto’s Inui” (Siwa – Siwa#7) (Record: Mint/ Silkscreen Jacket: Mint/ Imprinted Inner Sleeve: Mint). Originally released by Siwa records way back in 2000 in a tiny, hand printed edition of only 300 copies, which went almost instantaneously out of print, and becoming one of the most sought after Kawabata related items. This is easy to understand why since the music is intensely personal and introspective, with long three epic, hypnotic and introspective tracks of folk-drone magic created from subtle and smoky layering of violin, oud, sarangi, bowed sitar, lyra, shou, nei and voice. French filmmaker and musician Audrey Ginestet lends her crystal voice to “Shin.” Easily the best release to come out of the AMT camp and rightly so. Price: 125 Euro

649. KAWABATA MAKOTO: “I Wished You Were Here Again” (Swordfish) (Record: Mint/ Jacket: Mint/ Insert: Mint). Comes on yellow-flamed vinyl. Numbered edition of only 300 copies, this one is copy number 30/300. This solo recording was recorded at an in-store performance at the Swordfish shop on October 13^th, 2001. All by himself, Kawabata is layering here piercing feedback and amp melting distortion on top of his trademark blissful washes of cosmic guitar noise. The disc sold out in the blink of an eye. Here you have a chance to lay your hands upon a copy. Rare and hardly ever offered. Recommended. Price: 50 Euro

650. KAWAHARA MASAMI & THE EXOTIC SOUNDS: “Ecstasy – Kokotsu” (Columbia – YS-10077-J) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top copy of this 1970 released erotic rarity that just never turns up. Complete with always missing obi!! Well it has been at least 2 years since I had a copy of this erotic monster and this time this is the best copy I ever had. Here is what Boomkat wrote about the Tiliqua Record reissue of this LP: “The Tiliqua label is back, and not soon enough for these ears let me tell you. Since last year's explosion of 1960's classic Japanese porn-star albums I've been so sexually frustrated I've had to spend most pre-work mornings phoning into television helplines to vent my pent-up anger and desire for Japanese starlets with guns, so it comes as something of a relief to see Tiliqua return to this much sought-after blue series. This particular disc comes to us from the very capable stable of Masami Kawahara, not a name which might ring any bells instantly with you - but you might like to know that this was the same insane brain who was behind the very awesome and highly acclaimed Ike Reiko album (still to our mind the best in the Tiliqua catalogue, and now long sold out). So you should know what to expect if you managed to bag that little gem of a release, this is prime quality Japanese porn-jazz, with some Latin-flecked funk edits featuring a very saucy young lady moaning over the top. In the liner notes M. Kawahara reminisces that he doesn't remember who the girl was, but says when she had to moan she was touched or petted on cue - now that sounds like hard work eh? The funniest thing is that some of these tracks are actually totally insane, take the fourth track (it has a name in Kenji so please don't ask me to write it out) for example, all tribal drums and fractured synthesizers as our protagonist comes to a rather violent orgasm (amidst some whooping and chanting from what sounds like a cannibal filled jungle). This is utterly crackers stuff and for crate diggers, people searching for something totally unusual or those of you looking to get past the readers wives section of Razzle, this should be just the ticket. It's like Martin Denny's incredible "Exotica" series, except with some carnal activity going on in the background - how genius. Well I love it, and since we only have limited copies in stock you'd better act quickly if you want to bag one. Oh, and did we mention the gorgeous vinyl-reproduction Japanese packaging? Essential Purchase!” A fantastic record and a tough one to score on LP. In all those years only saw a copy popping on the e-bay flea scum/ looser market once hitting over the 350 mark. This one is way below…highest possible recommendation and Japanese erotic artifacts on wax are as you know almost impossible to find so…Price: 300 Euro

651. KAY HOFFMAN: “Floret Silva” (Belle Antique – Belle Antique-8502 – 1985) (Record: Mint/ Jacket: Mint/ 4-paged Insert: Mint) Released in 1985 by the Japanese belle Antique label is this stunning and totally unknown female acid folk masterpiece that was recorded in 1977~78 by the Italian female trio of Jacqueline Darby, Kay Hoffman and Simo Valzania, who get assisted by some guest musicians at some tracks. The music they dwell into is one of the best female vocals acid folk discs I have ever heard and it sucks in medieval territories, troubadour influences of the middle ages, acoustic instrumentation with here and there some electrical instruments, trance inducing female choruses, some light progressive touches, mellotron, recorders, bouzouki, toy organs, electric guitar, flute, etc Utterly haunting female acid folk and psychedelic masterpiece that is quite unknown and undetected by the larger crowd. At one time I saw a renowned psych dealer offering this baby in one of his lists for 150~200 dollars, so you can imagine the scarcity of this disc. This is highly recommended and one stunningly beautiful record. Price 50 Dollars

652. KAYN, ROLAND: “Kybernetische Musik – Cybernetic Music” (Colosseum – Colos SM 1474) (3-LP Set: Mint/ Box: Mint/ Booklet: Mint). Roland Kayn is a less known German composer living in The Netherlands. Since the Sixties he is focusing on what he calls cybernetic music: Kayn just sets the basic parameters and then lets his equipment play alone...not unlike David Tudor's live electronic music, which reminds more of a living garden of electronic circuits rather than conventional compositions. The end result is a flash of mind-bendingly awesome electronic music. “Roland Kayn (born 1933 in Reutlingen, Germany) studied from 1952 to 1955 in Stuttgart at the "Hochschule fur Musik", and at the "Technische Hochschule" with Max Bense. He was a pupil of Boris Blacher at the "Hochschule fur Musik" in Berlin from 1956 to 1958. He later worked in various electronic music studios-In Cologne, Munich, Warsaw and Utrecht. "In my work the compositorial redactional methods are determined by acoustic-physical considerations. Important stimulation resulted from experience and knowledge of information theory and cybernetics. His development took a path outside the serial-aleatoric tendencies of the fifties, a path which can be described by the term 'cybernetic music'. Since 1962, working on my scores of 'Galaxis' and 'Allotropie', I have been increasingly interested in the problem of the extent to which processes of automatically cybernetic origins can be reduced to the organic-sensory realm. In Cybernetics III (1969) the main object was to control several independent sound sources in such a way that density of information corresponds to certain entropy values. In the version produced in the Studio di Fonologia in Milan, ten sound sources are placed in relation to one another according to a particular selection principle. The entire basic material consists of sound spectra of vocal origin. In contrast to purely electronic sound production, in which various oscillators provide the basic material, vocal spectra seemed to be more flexible in their inner structure for purposes of further transformation. Six basic categories of sound material are used, including animal noises too. The material is modulated by means of electro-acoustic equipment and transformed by stages into new sound qualities." (Notes From Deutsche Grammophon 2543 006). Killer vintage electronic box set, released privately by Kayn. Utterly stunning electronic music. Price: 275 Euro

653. KEELY, BERT: “Take Me Home” (Manhole Music) (Record: Near Mint/ Jacket: Mint, still in shrink/ Insert: Mint). Original private press from 1979 on manhole records. This is a recently discovered obscure West Coast private pressing of self-recorded moody and introspective folk psych that resulted in awesome songs, floating, and introspective loner folk-rock vibe with psychedelic flashes. Strong vocals interact with beautiful layered guitar tapestries enhanced by understated but persistent use of phasing, backwards effects, echo, fuzz, reverb, etc, setting down a really magical post-hippy west coast guitar vibe. Keely’s voice on the other hand is welcomingly warm & deep, drifting through the music like a bee bussing around a flower. Although that the whole affair is executed in a primitive way, it didn’t stop the music to be very convincing and bringing down a certain awe, sucking you into Keely’s private and intimate universe. The few copies that have turned up recently have been consistently blowing minds & making a big buzz. Highly recommended album for all fans of outsider/psych loner/basement & private pressings but also fuzz & West Coast headz. One of the few recently discovered private presses that sounds truly great and which might be destined to become a future biggie. Price: 260 Euro

654. KEITH TIPPETT GROUP: “Dedicated To You, But You Weren't Listening” (Vertigo – 6360.024) (Record: Excellent/ Inner Sleeve with Vertigo Logo: Excellent/ Gatefold Jacket: VG++ ~ Excellent, has only some storage wear near the upper and lower edges). Original 1971 UK pressing on Vertigo swirl label. “Dedicated To You, But You Weren't Listening” is the best-known and most easily available item in Tippett's back catalog. Of the eleven musicians assembled for this recording, six either had been or would be members of Soft Machine (Robert Wyatt, Elton Dean, Phil Howard, Roy Babbington, Nick Evans, Mark Charig). These men had experience with experimental jazz and the record bounces from the structured and riff-oriented to the formless and free. The album bristles with energy; the drums and the bass are over-amplified by the standards of jazz recording, giving the music a thick, aggressive sound that is especially noticeable on the more accessible tunes. Two of these — “This Is What Happens” and “Black Horse” — start and end the album, respectively. “This Is What Happens” reminds me some of what Don Ellis was doing at roughly the same time with his big bands, although this could be residual of Tippett's interest in Ellis' mentor George Russell more than anything else. “Black Horse” is the track that gives the most serious nod to fusion and it makes the most of it. Guitarist Gary Boyle (later of Isotope) gets a chance to shine here as the band makes its way through a funky, Santana-like groove. “Thoughts to Geoff” and “Green and Orange Night Park ” weren't as immediately appealing to me, but they may well be the tracks that provide the most lasting interest. I've seen both of these pieces described as having Charles Mingus influences and indeed they do flit between cacophony and hard-hitting riffs in the manner of some of Mingus' early '60s recordings. Angular and difficult, they are really the heart and soul of this album and the time spent with them should be rewarded. “Gridal Suite” and “Five After Dawn” are the free-form blowouts. This is not my favorite style of jazz, although I've come to like “Five After Dawn”. “Dedicated To You, But You Weren't Listening” is hurt a little bit by casting so wide a net of styles; it presumes that its audience is familiar enough with experimental jazz to handle what amounts to a sampler platter. But despite not settling on a particular style, the band does have a unique sound and the music is mostly excellent. I'd easily recommend this album to anyone with an interest in Soft Machine or experimental jazz. (Ground & Sky Review) Price: 150 Euro

656. KESSLER, SIEGFRIED & JEAN-FRANCOIS PAUVROS: “Phenix 14” (Le Chant Du Monde” – LDX-74706) (Record: Excellent/ Gatefold Cover: Excellent). A meeting of heads, recorded during one lonely night way spanning the bridge between July 13^th and 14^th, 1978. Sadly enough this improvisational tour de force remains un-reissued till this day, almost condemning it to the vaults of obscurity. The music reveals chiseling sonoric textures bringing forth a deep subterranean alchemy of improvisational high tension hurtling in and out of focus enriched with kaleidoscopic electro-acoustic exploratory sonic pathways into unchartered waters and taking the listener to a challenging aural landscape where an intuitive approach rules the day. Both players fold and manipulate space, leaving you – in the end – flabbergasted and wondering what had just happened in front of your ears. Totally ace!! Price: 80 Euro

657. KID BALTAN & TOM DISSEVELT: “The Fascinating World of Electronic Music” (Philips – P-08168L) (Record: Near Mint/ Jacket: Near Mint). Top-notch copy, original Dutch pressing out of late 1950s. Some of the earliest electronic recordings were produced, in the late-1950s by Netherlands-based composers/keyboardists Tom Dissevelt and technician Kid Baltan (real name: Dick Raaijmakers). Their 1957 debut album, Song Of The Second Moon, included the groundbreaking electronic composition, "Sonik Re-entry". This was the follow-up album out of 1958 and steers further into unchartered electronic sonic realms where the previous record left off. Primitive amplified high frequency vibrations and Martial owl-hoots, augmented with defractured cocktail lounge jazz moves executed by dewarped dwarfed Neptune aquanauts on Quaaludes. A cosmic warp into pulsating sonic probes that prove to be thrilling as well as disorientating at once and rendering the outcome into an invisible, ephemeral, ethereal and abstract realm of the mind. Top copy original Dutch pressing. Price: 350 Euro

658. KIM DOO SOO: “10 Days Butterfly” (PSF – PSFK-001~002) (Heavy gatefold jacket – heavy vinyl 2 LP set with heavy booklet are sealed and new). BACK IN STOCK…..ALREADY SOLD OUT AT THE SOURCE……LAST COPIES!!!!!!! SO IT IS NOW OR NEVER…..I have been waiting for this release for a couple of months now but finally it is here, the new 2 LP set by Korean's finest acid folk singer. One time ltd pressing of 1000 copies and right now, already 900 copies are sold I was told, mainly to Korea, making that this LP version is drying up faster as you can possibly imagine. Kim Doo Soo is apparently quite a big name in the Korean underground but to me he was unknown until I got introduced to him by Damon and Naomi's curated CD compilation “International Sad Hits”, on which some tracks by Kim Doo Soo were included. Almost a year later and through a secret pipeline towards Korea, some of Kim's 4^th solo album (one of many I was told) started to sip through to Tokyo and what a surprise it was. And following that one, PSF decided to unleash a successor album, being this massive 2 LP set, pressed on heavy-duty vinyl and housed in a glorious gatefold jacket complete with booklet and obi. Just stunning. If one has to adhere to a fashionable label to his music, then I think that modern day acid folk would not be an inch misplaced. Graced by a simple and strong expression style and merely backed up by his own acoustic guitar playing and some austere percussion, Kim creates quite a compelling and unique atmosphere, both dreamlike as well as down to earth while hermitting away in a cave so to speak, resonating out a deep sentiment filled with melancholy, sadness, a string of hope as well as pure honesty and gloomy thoughts. In a way it feels like Kim's austere and barren feeling songs stir up cold volcanic ashes, humming out slow and smoky ballads that are punctuated by chimes, withering harmonica lines, darkening vocals and drearily sparse organ and strings additions here and there. If one tries to compare him with any other artists that succeed in bringing forth such deep sentiments and feel one can say that he belongs in the same line of people such as Tim Buckley, Alexander Spence, Dino Valente, Ishihara You, George Brassens, Tomokawa Kazuki and Mikami Kan. An artist that is able to offer us a peep into such honest and gloomy sentiments is a true rarity these days and Kim Doo Soo succeeds marvelously well in his task. I am sure we will hear more from him. Probably the best new artist to discovered this year. Truly fantastic. Price: 70 Euro

660. KIRIKYOGEN: “Kuni Kawauchi To Kare No Tomodachi” (London/King Records - SKK(L)-3003) (Record: Near Mint/ Jacket: Excellent – it would be mint but has a red seal on the jacket that just blends in with the original artwork). Incredible bloody rare first press original. First pressings copies never surface here in Japan and this is the very first time I could lay my eyes and hands upon a copy. Second and third pressings of the mid and late seventies due surface from times but original pressings just never. And this copy is a solid keeper in excellent condition. Kirikyogen was one of those one-time-off Japanese super groups erected by mastermind and Happenings Four leader Kawauchi Kuni who assembled around himself some key players out of the Flower Travellin’ Band such as vocalist Joe Yamanaka and guitar gunslinger Ishima Hideki. Kirikyôgen was a short-lived session quartet, composed out of the Happenings Four members Kuni Kawauchi and Chito Kawauchi and two Flower Traveling Band participants, Joe Yamanaka and Ishima Hideki. Their sole recorded output “Kuni Kawauchi To Kare No Tomodachi” consisted out of several compositions, written by all the four members and completed with Kuni Kawauchi’s lyrics. Music and text-wise the album bears some structural resemblance to the Happenings Four album “The Long Trip” (1971), although that Kirikyôgen’s effort appeared one year earlier than the former and one month after the release of the Flower Traveling Band’s debut “Anywhere”. It is said that Ishima Hideki wasn’t at all satisfied with “Anywhere” since his individuality as a guitarist was restricted to merely copying foreign songs, how well executed they may be. With the Kirikyôgen project he could surmount these formal restrictions and concentrate more on his own individual playing, an element that afterwards would fully translate itself with the Flower Traveling Band’s second release “Satori”, which possessed a more adulterated and original sound as compared to “Anywhere”. So seen against that background it is certain that Kirikyôgen influenced and left its imprint upon the Flower Traveling Band, although that Kirikyôgen failed to attain the big public success of its affiliated brotherly outfit. The lyrics, displaying the dissolute worldview of Kawauchi, were hurled out and given shape by the powerful vocals of Joe Yamanaka and underscored Ishima’s idiosyncratic guitar play. But in the midst of the Japanese rock movement lead by the Happy End, almost nobody paid any attention to their sonic endeavors, causing their sole recorded output to be engulfed by the cracks of time. In retrospect, “Kuni Kawauchi to Kare no Tomodachi” cannot but be regarded as an excellent session album depicting some of the New Rock’s key participants on a collision course in search for musical originality. The album still stands as one of the prime examples of that era that succeeded in merging musical vision with audacious skillfulness and lyrical originality. Bloody rare and mind blowingly great. Has red seal on Jacket, blends right in with the artwork. Price: 650 Euro

668. KOSUGI TAKEHISA: “Catch Wave” (CBS Sony – SOCM-88) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint) Mega rare Holy grail of Japanese Fluxus-inspired minimalist psychedelia, COMPLETE WITH ALWAYS MISSING OBI!!. RARE White Label Promotional Copy!! Here you have a top-notch original first press copy of the ultra rare Kosugi solo album. And top-notch means in this case that the album in question appears to be unplayed and looks brand new although it came out almost more than 30 years ago. A badly sounding bootleg LP edition came out a couple of years ago but it sounds light-years away quality-wise when comparing it with this pristine original copy. Virtually impossible to get (even here in Japan), Catch Wave is the ultimate example of Kosugi creating an organic drone sequence fusing into another mind- elevating document of violin induced tone-float Kosugi was the founding father for cult outfits and improvising collectives such as Group Ongaku (with Yasunao Tone) and the Taj Mahal Travelers. "Catch Wave's" elegance lies in its economy of means. He uses his violin by engaging simple electronics (ring modulator and delay unit) to multiply a single sound source into an undulating, ever expanding sound field. The quote on the back cover of the LP reads: "SOUNDS SPEEDING ON LIGHT, LIGHT SPEEDING ON SOUNDS -- BETWEEN RIDDLES & SOULTIONS." Indeed, a devastatingly great psyched-out listening experience that blows all current-day would be, wanna-be and gonna-be minimalists impersonators straight out of the water. This is the real deal and a rarely offered nugget in virginal condition. Bloody rare these days, even here in Japan, mint copies seem to have vanished from the face of the earth, especially white label promotional copies complete with obi are almost inexistent. Price: 300 Euro

670. KOYAMA RUMI: “Anata Ni Maketa No b/w Mahoutsukai No Anata” (Union Records – US-664-J) (7-Inch: Excellent ~ Near Mint/ Gatefold Picture Sleeve: Mint). White label promotional copy!!! Bloody rare 7 inch by Koyama Rumi, the unheralded Queen Of Japanese Pops. Original May 10^th, 1970 release housed in what is probably the most amazing/ shocking/ hilarious and sexy jacket art ever, being a scarcely clothed Koyama Rumi looking sultry with much skin to show for, set against a B&W picture of Adolf Hitler. Just stylistically insane but what an impact it has! One of the best jackets ever in my book! A classic and so is the funky groovy music on display. Born in August 1^st, 1953, Koyama Rumi first made her debut in 1968 as a go-go girl in the movie “Kemeko no Uta”. This was quickly followed up with her again shaking her sexy self to smithereens in the television program “Beat Pops” where she appeared again as a go-go girl alongside Sugimoto Ema, and the Golden Half. That same year she made her debut as a singer with the song “Hajimete no Date” (First Date) which was released by Victor records. After she switching record companies and opting for Teichiku, “Anata ni Maketa No b/w Mahoutsukai No Anata” was her 2^nd single release which immediately made an impact through its daring, yet superb choice for the jacket art. 　Although the daring and provocative artwork didn’t directly alluded to it – but nevertheless did not fail to bring her some deserved attention – the music is just outstanding female vocals R&B, brimming over with an addictive soulful “Bad Girl” attitude set against a swirling and ass-kicking backing band. Just killer with absolutely no filler, making this release as one of the true highlights of sleazy but groovy Japanese Bitch pop. And seen against that, the jacket does match the music perfectly, it is right in your face girl power, of a swinging go-go kind injected with furious acidic guitar lines, Detroit horns, hand percussive rattles, swirling key action, all funked up with Koyama Rumi’s soulful vocals. This is a butt-shaker, dance floor burner and party mover. Vintage 1970 go-go girl freakiness of the highest order. 1^st original pressing, white label promo and housed in just one of the best ever gatefold picture sleeves. Highest ever recommendation. One thing though, I do not ship to bleeding rectum white supremacist scum, Militant Feminists and other dingbats who might fancy the jacket of this one but fail to see the humor it beholds. Price: 350 Euro

673. KRUTZEN, HENRY: “Silances” (Igloo – IGLOO-6) (Record: Mint/ Jacket: Mint/ Insert: Excellent). The rarest Igloo Records release. Amazingly great Belgian experimental avant-garde disc. This one is bound to blow skulls wide open once exposed to the panoramic and exploratory sound pregnant with haunting echoes oozing out of this beast. Once you thought you had heard every good experimental and avant-garde record out there, you unexpectedly get blindsighted and chain-whipped by a sonic adventure that provides viable escape routes from electronic and sound art music’s formulaic gridlock and taking the whole ordeal to much higher terrestial planes. The condensed overall effect is one of tripping through mysterious atmospheres that are seemingly filtered by a patina of ritual incantations and magic ceremonials. Recorded in 1979, Krutzen creates some totally bewitching sounds using multi-layered vocals, musique concrete and tapes, went far beyond spoken-word, as the vocal component is stripped of language to fully experiment with the power of the voice ranging from cries, breaths, mongloid chanting, modified spitting noises, shamanistic tribal & nasal bone-throat circular breathing excorcist rites and even lost-in-translation opera-like tenor shrieks that got sidetracked into the quicksand of percussive rattles’n’shakes. Minimal esoteric sounds pop up through the fog, enriched with stripped-to-the-bare minimum percussive undertones that interlock with Tibetan-like bells and gongs which are also used but limited to the bare minimum in order to enhance their entrancing ghostly effect. Pocket-sized apocalyptic yet gloomy mesmeric beguiling adventure into sound, Krutzen single-handedly created one of the most austere and compelling sound-art works. He fuses an avant-garde aesthetic with experimental vocal sounds and interlaces it with ritualistic mantra-like Gagaku elements before spiking it with a cool-aid minimal music aesthetic junked up with an improvisational exploratory approach. The whole affair is pregnant with Dionysian vibrations of harmonical tones that resonate through a pulsating intensity. Bone chillingly beautiful, addictive like a giant leech crawling upwards on your spine ready to invade your cerebral cortex and affecting your body movement and muscle coordination. Stunning and transfixing listening experience. One of the best avant-experimental-sound-art recordings to seep out of Europe/ Belgium. Rarely turns up and largely unknown. Price: 200 Euro

676. KUPPER, LEO: “Anna Maria Kiefer” (IGLOO – Iglo 32) (Record: Mint/ Jacket: Mint/ Insert: Mint). Another great Belgian avant-garde/ electronic music record by this still undetected mastermind Leo Kupper. Composed out of two sidelong tracks, “Amkea” explores the possibilities of phonemic music with vocals, there where “Aerosons” is a complete electro-acoustic composition that will melt down your ears. Still some phonetic elements do crawl into the composition and the various sonoric materials that compose this composition are micro-sonic, creating some eerie soundscapes. Brilliant stuff that shows again that Belgium is one of the greatest countries in the world to cultivate electronic music, be it on its own totally idiosyncratic plane. Released in 1985 on the highly influential Igloo imprint. Highly recommended. Price: 35 Euro