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Forced Exposure

@forcedexposure2

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“Featuring heartbroken vocal performances and stripped of frills like basslines or reverb, the Manchester producer’s latest album of bruised electronica is his starkest and most forlorn yet.” —Chal Ravens by @forcedexposure2
“Jean-Luc Godard once claimed that “film begins with D.W. Griffith and ends with Abbas Kiarostami.” One could also say that jazz begins with Buddy Bolden and ends with Cecil Taylor. From his emergence in the mid-1950s until his passing in 2018, Taylor not only disassembled jazz and reconstructed it in his own style, but also found ways to make the world listen. The avant-garde revolution of the ’60s produced many visionary jazz musicians, but few were able to perform at both Carnegie Hall and the White House. Live at the KiMo Theater Albuquerque 1979, the latest release from Taylor’s archives, is a recently uncovered live set originally intended for broadcast on NPR. Though it may not have made it to the airwaves, the fact that it was even considered for mass consumption speaks to Taylor’s unique visibility as an atonal jazz pianist.” —Levi Dayan by @forcedexposure2
DAVID GRUBBS From Red Black to Black, from Blue Black to Black ⠀ New CD via CORBETT VS. DEMPSEY ⠀ “In From Red Black to Black, from Blue Black to Black, McElheny offers six extraordinary meditations. Four wall-hanging works incorporate embedded hand-blown vibrating glass discs that transduce and resonate sound signals. These “singing paintings” amplify musical works by David Grubbs that were especially commissioned for these pieces, as were all the sounds in the show. A combination floor-and wall-based sculptural installation stretches a red-sheathed cable around the interior of the space, transporting a heartbeat-like, non-repeating, non-metronomic signal from a Serge synthesizer to a drum-like cylindrical shell embedded with colored glass discs, the top of which transduces the sound by way of a white glass “drum head.” A major floor sculpture at the center of the exhibition is based on the Leslie speaker system best known from soul jazz organ groups; across intervals of silence the melody from a Baroque chorale alternates with the musical trainwrecks of progressively slowed-down harmony parts. Along with the sculpture’s spinning, doppler-effect inducing horn element, like the paintings its surface is marked with painted color spectra. The sequence and proportion of these colors reflect McElheny’s profound engagement with 19th century explorations of chromatic spectra, in particular the work of French chemist Michel Eugène Chevreul. The title of the show refers to McElheny’s radical idea that the color black exists as an expanded infinite place at the beginning and end of the color spectrum. McElheny’s vision puts black at the core of real color, as a full-fledged component of the visible electromagnetic spectrum. In From Red Black to Black, from Blue Black to Black, McElheny effectively decouples the spectral from the prismatic, so the selection, order, and proportionality of its elements is not predetermined. Spectrum as domain of conceptual invention and intervention, upending its rootedness in physics or optics. An aprismatic artifact of rigorous imagination.” by @forcedexposure2
IGLO Evergreen ⠀ forthcoming 3LP via FIGURE ⠀ “IGLO returns to Figure with Evergreen, his first full-length release for the label and the most expansive expression yet of his distinctive approach to techno. With a background that stretches from the Thomanerchor Leipzig to playing guitar in bands and eventually finding his way into electronic music, Luis Fischer has always approached techno with a strong sense of musicality. Melody, harmony, dynamics and atmosphere are as important to his productions as rhythm and sound design. On Evergreen, these different sides of his musical personality have room to exist alongside each other, resulting in a record that feels unusually open and personal. Across fifteen tracks, IGLO moves freely between driving, physical techno and slower, more atmospheric pieces that follow a different logic altogether. The heavier tracks show his instinct for powerful, functional rhythms, while others strip things back to sparse arrangements and slowly unfolding melodies. In between, deeper grooves, playful basslines and strange electronic details reveal a lighter side of his sound. Together, these different directions crystallize the breadth of IGLO’s musical vocabulary without ever feeling disconnected. A big part of that cohesion comes from the use of own voice as an increasingly important part of this language, appearing throughout the album in different forms. Disappear for instance, uses warm vocal fragments as part of its atmosphere, while elsewhere the voice becomes more direct. On “Concentrate” and “Lost Cooperator,” those fragments develop almost into lyrics, bringing a sense of vulnerability rarely heard in this kind of music. It is one of the clearest examples of what makes IGLO’s work so personal: the precision and physicality of techno meeting something more human and emotionally exposed. The album also gives IGLO room to follow his more cinematic and introspective instincts. Several tracks step away from the dancefloor almost entirely, allowing ambience, melody and slowly developing soundscapes to take over.” by @forcedexposure2
IGNACIO Organa/Organon ⠀ forthcoming 12” via MUSIC MAN ⠀ “Originally released in 1997 by Music Man. Ignacio is Steve Rachmad, and this is his first release for the Music Man label. A classic bit of trance-y, minimal, synth-based ‘90s techno that builds and builds in updrafts of grit, shake, and kick.” by @forcedexposure2
THE AMAZING Qu’est-Ce Que Vous Voulez? ⠀ forthcoming 12” via SOUVENIR MUSIC ⠀ “A slice of Belgian underground dance music history is back on wax! The Amazing’s Qu’est-Ce Que Vous Voulez? returns on 12-inch vinyl, bringing this distinctive club track back into the spotlight for a new generation of DJs and collectors. Alongside the original club favorite, this special reissue features a previously unreleased mix and the acapella version. Combining the appeal of a rediscovered Belgian club record with exclusive material never before available on vinyl, this release is an essential addition for lovers of underground dance music and vinyl culture.” by @forcedexposure2
THE INTELLIGENCE Witches Woo ⠀ forthcoming 2LP via V.M.I. ⠀ “’Man, sometimes it takes a long time to sound like yourself,’ says Miles Davis. It took Lars Finberg twenty-seven years. As leader of post-punk garage smart-asses The Intelligence, as well as stints drumming for psych rock all-stars Thee Oh Sees and Seattle’s experimental post-punk luminaries The A-Frames, Finberg honed the sharp but playful inversion of garage punk he’s become known for. And now he debuts Witches Woo — a double LP that marks number 13 in the Intelligence catalog, or ‘number 3 in Phase 2’ says Finberg, referencing transitional albums Lil’ Peril (2022) and Now, Squirm (2024), which both saw him drop everything he knew in search of new beginnings. His work on those two albums, as well as scoring a feature film, were the necessary steps towards a bigger and more authentic idea of what his music could be. Not that he wasn’t already singular — an idiosyncratic songwriter doing his best to stretch the limits of recognizable genres, Finberg earned his place as a cult favorite in the underground rock world. But Witches Woo ushers in a new era — this is music beyond genre, influence or convention. It’s music as direct extension of personality. It’s music that doesn’t come from the ‘Lars Finberg’ persona, but from the person himself. It’s joyous, strange, vulnerable, and above all searching. It feels less like listening to a collection of songs than it does being led through a musical landscape that connects you directly to another person’s subconscious. It’s cinematic in its immersiveness, stripping away structure to expose the raw creative act, the inspiration and emotion at the heart of it. Witches Woo is eleven songs divided into four sections, one for each season, and it attempts to traverse, in 69 minutes, as big a space as one year of human life. It’s a symphony of electronic bedroom big band storytelling, chittering circuit board warbling vocals and lovelorn musings that ebb and flow like the aforementioned seasons.” by @forcedexposure2
YEARS OF DENIAL Suicide Disco Vol. 3 ⠀ forthcoming 2LP via VEYL ⠀ “Years of Denial return with Suicide Disco Vol. 3, a twelve-track album that brings a new level of energy into their sound. More expansive, sharper and more physical than its predecessors, it introduces richer production, stronger contrasts and more ambitious arrangements, with increased movement and musicality without losing the darkness and tension at the core of the project. For the first time, guitars appear across several tracks, pushing parts of the record deeper into deathrock and post-punk. Krautrock’s repetitive Motorik pulse and dub mixology become part of the writing itself, providing a base for sharper songwriting and more developed melodic arrangements. The result is rawer and more abrasive, while still connected to Years of Denial’s electronic foundations. On the club side, their trademark powerful beats and heavy basslines remain firmly in place. EBM and electroclash are approached through analogue and digital hardware, looking towards the future while retaining something nostalgic. The duo describe the collision as Chris & Cosey jamming with Christian Death and Public Enemy, produced by King Tubby. The writing follows the same shift. Feminism, rage, resistance and liberation run throughout, carrying the confrontational energy of punk and riot grrrl, raw expression and a refusal to conform. There is less metaphor, more confrontation, less hiding and more truth: unapologetic, instinctive and free. Alongside that comes a rejection of romanticized suffering and the mythology of the starving artist. That story must die. But beneath the rage there is tenderness. Personal experience becomes a way of looking at wider social and political realities, with the “I” in the lyrics standing not only for the singer, but for a voice that could belong to anyone. Anger and compassion, violence and beauty, defiance and fragility exist side by side. Darkness itself takes on a different meaning here. Less an aesthetic, more a place of resistance, liberation and kindness, with empathy, solidarity and vulnerability remaining urgent even in the harshest moments. The world needs kindness.” by @forcedexposure2
BOW Vinalmont ⠀ forthcoming 3CD via SUB ROSA ⠀ “Some music rises without a clear beginning and fades without an end. It unfolds, breathes, and invites you in. BOW’s new 3CD box set, recorded over three summer days in the church of Vinalmont, captures that rare quality — music appearing in its own time, without urgency or design, emerging from the simple act of five musicians standing together inside sound. With Vinalmont, BOW presents its most extensive document to date — an immersion into the heart of their practice, unfiltered and unhurried. Far from noise and hurry, BOW gathered in this small stone church to reconnect with what has defined them for over a decade: an immediate trust, a precise way of listening, and a shared appetite for the unknown. There were no sketches, no predetermined structures, no instructions. Only a circle, five instruments, and a room whose gentle acoustics welcomed every gesture like a slow, steady rain. Light shifted across the stained glass, the wood creaked softly, and silence settled in before each beginning. What took shape over these three days was not a composed work or a curated selection, but a passage. A raw, unedited document of music coming into being. The pieces advance in whispers or sudden brightness, moving between fragility and fullness, unpredictability and luminous presence. They feel their way forward, guided by glances, breaths, and small held-back gestures. Nothing is written, yet everything finds its place, somewhere between chamber intimacy and a shared exploration of sound. This box set reflects the full arc of those sessions: quiet stretches where the music seems to hover just above the floor, and moments where a single gesture draws the ensemble into new terrain. What listeners encounter is a moment made audible, an invitation to step into the circle and listen as one might share a quiet secret, slowly and attentively. BOW is a Brussels-based string quintet formed more than a decade ago. The group stands at the crossroads of contemporary chamber music and free improvisation. Their approach is grounded in close listening, patience, and a commitment to collective sound-making.” by @forcedexposure2
GOLDIE Timeless (2026 Edition) (Transparent Blue Vinyl) ⠀ New CD/2LP versions via LONDON RECORDS ⠀ “Double LP version. Blue vinyl. Goldie’s 1995 debut Timeless is often described as one of the greatest dance music albums of all time. As one of the founders of Metalheadz, one of the most influential drum and bass labels, Goldie helped shape the sound of a generation, and a genre that has spanned over three decades. London Records celebrate National Album Day with a new exclusive reissue of Goldie’s Timeless. Includes re-imagining of the original white artwork with liner notes from Tim Barr.” by @forcedexposure2
TAPPER ZUKIE Tapper Roots ⠀ Repressed on LP via KINGSTON SOUNDS ⠀ “Tapper Zukie was high on a list of artists that Richard Branson in 1978 had in mind to sign to his new reggae label Front Line. The mission was to sign the cream of the reggae crop when the Virgin record boss went down to Jamaica with a group of reggae minded people, included in that group was one Johnny Rotten, singer of the very recently disbanded group The Sex Pistols. The result of which would be a two-album deal between Tapper and the label. The first release also in 1978 was the album Peace in the Ghetto (Kingston Sounds KS052) and this release Tapper Roots.” by @forcedexposure2
PETER RANKING & GENERAL LUCKY Jah Standing Over Me ⠀ forthcoming LP via LANTERN REC. ⠀ “Fully licensed, all tracks remastered. The debut album by British-Jamaican reggae deejay duo Peter Ranking and General Lucky, released in 1982 on the Silver Camel label. The album was produced by Phil Fraser and Michael Chin as part of the Cornerstone production team. Most of the material was recorded and voiced at the legendary Channel One Studios in Jamaica, backed by renowned Roots Radics and legendary Scientist as engineer! For all fans of classic roots reggae and early dancehall style!” by @forcedexposure2

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