The artist from Utrecht, called Solotust, makes his debut on the Soil records label with a 6 song mini Lp. All of them are loaded with dark melodies that move between minimal synth, dark krautrock and synth pop. Harmonic voices linked with synth lines that will make you transport yourself to the space directly.
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For their next release Kontrapunkt goes deeper into the realm of experimentation. It reaches from neo
trance techno tracks to some spiritual influenced tribal tracks. There will be discoveries in the breaks
area as well. And in the end it is all about how rough techno can sound today
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Coppice Movements is an addendum to 'Carolina', an album released by Polar Seas Recordings. These five arrangements follow a similar formula as its predecessor; suffused with manipulated field recordings and persistent drones that gently flow. Mastered at Schwebung Mastering (Germany) by Stephan Mathieu, Coppice Movements is a continuation of solemn yet jovial paean to seclusion and quiet moments of self-reflection, bathed in shimmering reflections and a profound sense of stillness and serenity.
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originally released in 1990-with Liz Lamere - Never released on vinyl-
Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.
Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.
For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.
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Building On Over A Decade Of Work, Drums & Drones Ii Follows Master Drummer And Composer Brian Chase (yeah Yeah Yeahs) Into Unchartered Sonic Realms. All Of The Pieces Are Based On The Acoustic Resonance Of A Single Drum With Each Track Designed To Emphasize A Different Method Of Sonic Investigation.
The Project Draws Inspiration From Brian's Time Working At La Monte Young And Marian Zazeela's Dream House In Tribeca, Nyc. As He Spent More Time Immersed Within The Installation, Its Complexity And Beauty Started To Reveal Itself In Its Magnitude. On The Technical Side, This Was Partly Due To The Distinct Tuning System - Just Intonation - That Was Used To Create The Sound And The Way It 'plays With' The Listening Process. Brian Grew Intent On Finding Ways To Adapt This Approach To His Primary Instruments Of Drums And Percussion.
The Album Was Recorded Over A Four Week Period As Artist-in-residence At Headlands Center For The Arts In Northern California. Spending Day And Night In A Secluded Barn At The Top Of A Hill, The Residency Provided The Opportunity To Live And Work Immersed In The Creative Process. This Focus Very Much Relates To The Way In Which The Music Functions: As The Listener Tunes Into The Sonic Characteristics And Pace Of Each Track, Its Meditative Properties Are Gradually Revealed.
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New myths; remember downstream, the truth and sacred geometry. Unlikely and bright, it weighs waves like an anchor through pinch unconscious - unread and still. We are understanding - process born from fact. The rope is taut, calm, made of ritual and leading us back - but in telling it transforms; pre-linguistic, stamped, fully dynamic, the start refracts into new versions and inwards we fold. It remains rhythm in absence, but grows as we watch. Next thread drawn from the Mirror Zone, this one built by Vector Trancer. Our plate reads panoptic; dark dub and ambient loaded with psychoactive EBM. See further; MSB's vital experiments powered by half-speed Beat Box; distant Objets D'Art channelling through Namlook's Fax; pared down FSoL at the hands of Autocreation. Celestial fringe echoes, viridis mantra, and guttural/ceremony trudge. Direct knowledge, heavy and charged.
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Medical Records is elated to reissue a very special vinyl collection consisting of a hand picked selection of vocoder and synth tracks by the one and only Zeus B. Held. Zeus is a well-known and acclaimed German musician and producer also made famous for producing Gina X Performance (also reissued by Medical Records). Zeus first began his musical career in the mid 1970's with the German prog rock group "Birth Control". Subsequently, he recorded three solo albums: "Zeus' Amusement (1978), "Europium" (1980) and "Attack Time" (1981). He performed a number of interesting live shows supporting the albums all over Europe using a number instruments such as Fender Rhodes, Hohner Clavinet, Hammond Organ, Poly and Minimoog, ARP sequencers and most importantly, a Sennheiser Vocoder VSM 201 among other various instruments. His musical influences ranged from Rick Wakeman and Keith Emerson to Kraftwerk and Steve Reich. Zeus also was involved in a very diverse roster of collaborations with such important artists as Guru Guru, members of Can as well as French space rock groups ("Les Rockets" and "Visitors"). The tracks that make up this compilation were selected from the aforementioned solo records. Ranging from straight out cosmic disco to propulsive proggy funk to the unclassifiable, this collection is a perfect representation of his solo work. Standout tracks include the cosmic burner "Held It", the total vocoder/space jam "Musik, Music, Musique" and the amazing interpretation of Beatle's "Drive My Car" complete with vocal by Gina Kikoine herself (Gina X). This collection will appeal to fans of the synth/vocoder work and unmistakable razor sharp production of Gina X Performance as well as fans of left-field synth heavy prog and disco (a more rock based Moroder if you will). Specially remastered for this vinyl reissue. Presented on high-quality 180gram colored vinyl.
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TASTATURSTUECKE VOL 1 introduces 9 outstanding new compositions for church organ, harpsichord and self programmed software. The album comprises the first collaborational recordings of Brian Parks (Atlanta) and Phillip Schulze (Düsseldorf). The two musicians first met in the early 2000s at the famous Wesleyan University, Connecticut, where they regularly attended seminars of their teachers Alvin Lucier and Anthony Braxton.
Through extended preparations for a series of live performances in Europe in 2019 (e.g. at the APPROXIMATION Festival, Düsseldorf) Parks and Schulze developed and refined a unique approach towards composition, highlighting their interest in the correlation of the invariable flawlessness of a computer versus the human performer on church organ or harpsichord.
Largely written for church organ and harpsichord all pieces also correspond perfectly with the physical spaces the recordings have taken place at. The album was recorded in three different churches in Düsseldorf which have been chosen for the different qualities of their specific room acoustics. Treating slight differences in pitch, phasing, overtones and rhythm all compositions on TASTATURSTUECKE VOL 1 offer an evocative density and flexibility that imbue the music with an organic feel.
The nine pieces range in shape and form from concise and sharp clarity such as Ranking Studies 1-3 to the extended, exquisitely paced radiance of the 8 minutes of Partials Chrorale. Mensuring Canon for 8 voices is obsessively restated in constantly changing permutations whereas the metronomic Reliefs for Ecclesial Space sounds urgent, deep and explosive.
The last piece, Activated Progression, in particular reverses the roles between computer and the human musician. The software never messes up the phase. The human would do his best to gradually change from one state to another. Once decisions are made regarding registration and finger assignment, the human should behave like a well-fabricated wind-up toy. The two hands remain offset the entire time, and at the fastest possible speed, enact patterns of three notes (left hand) and four notes (right hand). The computer meanwhile, moves from Euclidean rhythm to Euclidean rhythm over leisurely time periods.
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With “Mirage Mirage“, avant-pop quintet Spirit Fest gifts their listeners with their richest, deepest record to date. It’s no surprise when you consider the group’s membership: Saya and Ueno, aka the duo Tenniscoats; Markus Acher, best known as singer of The Notwist; Mat Fowler, who plays with Jam Money and Bons; and Cico Beck, who’s making music with Joasinho, Aloa Input & The Notwist. If that feels like a heavyweight line-up, that’s because it is – yet the overarching mood of Spirit Fest is one of lightness and joy, of experiment and pure pop pleasure.
Sessions for the the album were split between the Tenniscoats’ Tokyo home studio in November 2018, and a small apartment studio in Munich in June 2019. Saya, Ueno and Markus pitched in songs, but sometimes, as with “Fish With Arms”, beguiling moments grew from group improvisations, often kicked off by Cico and Mat. All members stretched their instrumental limbs, too: “I was curious to explore how my home recording methods might work within the studio,” Mat reflects, and you can hear that curiosity in the aforementioned song, which folds in a recording of “a young boy showing his father a painting he'd made of a fish with arms shortly before disappearing between the sliding doors of a lift.”
That’s a lovely metaphor for what Spirit Fest do here. There’s a sincere, child-like generosity to the music, and a playfulness with an everyday surrealism you can hear in some of the experimental interjections across the album. Its final sound is the rolling click-clacking of a bicycle wheel. The bike was key to one of Mat’s explorations of the Tenniscoats’ Tokyo neighbourhood, on “an autumnal cycle ride to a local park. The bicycle had a basket, in which I carried two paintings I had found on the street.” Stumbling across art amongst the everyday; that’s also core to Spirit Fest, particularly after reflecting upon Markus’s description of their music-making practices: “Most of it develops by playing and trying, and decisions are made fast and intuitive.”
There’s more here than just avant-pop: see the pronounced folksy lilt to “The Snow Falls On Everyone”; or “Mohikone”, a gorgeous instrumental, droplets of piano pattering amongst a plangent acoustic guitar. The seven-minute “Zenbu Honto (Every Thing Is Everything)” is a spiralling psychedelic pop mantra, with field recordings and slithering electronics tracing a path under the scrub-growth of guitar, piano and drums. There are guest appearances from Micha Acher (The Notwist, Tied & Tickled Trio) on trumpet, and Aiko Okamoto, who takes part in the choral rounds of the album’s closing tune, “Saigo Song”.
Whichever way you approach it, though, the guiding force of Spirit Fest is friendship and collaboration, giving life to collective dreaming. Summing things up, Markus says, “This record is a lot about relationships, from different perspectives, about wondrous things that happen to everybody sometimes, about shared experiences (like the snow falling on everyone). I think of summer when I listen to it, because we recorded in summer, but more like a long sleepless summer night with lots of talking and music… A psychedelic feeling.” The creative dynamic that makes for those spirited nights of talking and sharing is all there in a story that Mat tells about first meeting Markus, “outside a Paul Klee exhibition we then went on to visit. One painting always sticks with me, ‘The Adventure Ship’. I still feel an affinity between this painting and our own travels on the good ship Spirit Fest. All aboard!”
Words by Jon Dale (Rose Hobart / Tristes Tropiques)
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Vatican Shadow’s impossible to find early tapes finally arrive on vinyl, kicking off a completist
series of new D&M remasters with a first volume featuring: ‘Byzantine Private CIA’, ‘Mural of
Saddam’, and ‘Yemeni Commandos’
Arriving under a shroud of anonymity in 2010 with the four tracks of ‘Byzantine Private CIA’,
Vatican Shadow has since become one of the most vital projects manned by Dominick Fernow
(Prurient, Rainforest Spiritual Enslavement). Daring to grasp the nettle of US geopolitics at a time
when nobody else would (and that hasn’t really changed), Vatican Shadow hijacked imagery and
text from a plethora of news articles, books and government publications, and used them to adorn
and title his all-instrumental compositions, recontextualising U.S. foreign policy in a way that
recalls how original industrial, noise and post-punk mutants used their art and music to express
feelings towards the cold war and western socio-economics during the late ‘70s and thru the ‘80s
- with a particular, explicit thread of inspiration coming from Bryn Jones’ prolific Muslimgauze
catalogue.
The first LP ontains all four cuts from Vatican Shadow’s first release, ‘Byzantine Private CIA’, taking
in the cold thuds and clamouring background noise of ‘Deny Military Involvement’ alongside
highlights in the militant trample of ‘Cairo Sword Unsheathed’ and the sludgy industrial dirge of
‘Gunman With Silencer’. The second LP follows with three tracks off ‘Mural of Saddam’, including
the brittle, Muslimgauze-like stepper ‘Schwarzkopf Arc of Triumph’, and the furtive trip hop of
‘U.S. M1A1 Abrams Exhaust Rises Between The Hands Of Victory’, before concluding with some
the project’s most sublime work in the opiated lushness of ’Shadow War In Yemen’ and ‘Asymetric
Warfare Studies Group Double Game’ from the ‘Yemeni Commandos’ tape.
Sounding more compelling than ever, thanks to the remastering at D&M, and with original tapes
now impossible to find for love nor money, these vinyl pressings of early VS gear are practically
worth their weight in gold.
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Coloured Vinyl
From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF.
Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma.
Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project.
The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare.
In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip.
This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.
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Color Vinyl
Studio Sessions At Les Ateliers Claus, 2013
Charlemagne Palestine: Piano, Voice & Organ
Mika Vainio: Electronics & Live Processing
Eric Thielemans: Drums & Percussion
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Joke Lanz travels down memory lane! Two decks a mixer and a dozen of old Sudden Infant vinyls to spin, scratch, manoeuvre, loop and juggle into a narrative new composition. Recorded and mastered by Rashad Becker in Berlin, this album combines Joke Lanz' unique turntablism and intuition for mutant-body-dramas peppered with a great sense of humour from the rhythms of amplified faders and his own breath to spoken interjections of Bryan Lewis Saunders' dream lyrics. You can dance, you can cry, you can smile, you can die!
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Mini album by Repeat Eater aka Julien Guillot with nine tracks. Electro acid and electro breaks made with analog modular synth and some electronic experiments inbetween. cold and cool sounding, would call it dry or minimal but with a fine reverb. individual colored screen printed covers, stamped and numbered whitelabel, just 300 copies.
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- Collab between Dais records co-founder Ryan Martin and polymath Joachim Nordwall - Dark post-industrial tape-works - Edition of 300 copies
Recorded in a Brooklyn basement during a couple of cold December days in 2014, the collaboration between Ryan Martin (DAIS Records, modular synth wizard) and Joachim Nordwall (iDEAL, analogue synth lover) became something very special, raw, intense and powerful.
For all the clamminess and cold, ceramic finish, there's soemthing hypnotically magnetic about the way in which the duo musically converse, neither trying to outdo the other, rather allowing the other room to manoeuvre within the frequency spectrum, from the sludgy gathering of energies in Exposing the Absurdity of Superstition to the ecstatic vocal charge which soon calves away to an oppressive, greying battery in of Retrace/ Reverse, before the elegant, sashaying repetitions of Ricochet Around The Triptych lure us into a deeply somnambulant headspace with only the slight hint of violence lurking bedside.
Thanks to engineering by Kyle Keays Hagerman and cold mastering job from Kris Lapke (Alberich), Martin & Nordwall's music is subtly petrified, pensile, frozen in place as a special document of that night in the basement..
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Strata-Gemma's eponymous debut album is set to provide a soundtrack to 2018.
The trio hail from Modena, the Northern Italian motor city. As with the Ferrari and Maserati cars that are designed and manufactured in Modena, Strata-Gemma produce a music of beautiful symmetry.
Strata-Gemma create jazz for the head, the heart and the body. Their sound is shaped by the ambient adventures Miles Davis and Ron Carter engaged in alongside the electronic pulse Mo' Wax and Ninja Tune carved out of clubland. Add to this a touch of Nino Rota's Fellini film scores, employ a pinch of Balkan and klezmer brass arrangements, and you have an instrumental trio who create music so fresh it stimulates the senses.
Strata-Gemma are a collaboration between Billy Bogus, Luca Cacciatore and Andrea Moretti. The trio first took shape as a club jam between DJs and musicians. Their ability to create atmospheric music, pulsing with rhythm but never solely reliant on beats, music that breaks free and explores sonic possibilities, quickly won notice and lead to the trio playing their freeform music in clubs, music venues and festivals across Italy.
Strata-Gemma consist of producer Niccolò Bruni (aka Billy Bogus), horns player Luca Cacciatore, double bassist Andrea Moretti. Bruni is a DJ, producer and founder of Pizzico Records. Over the past two decades he has striven to mix jazz, beats, soundtracks and funk. Coming together with Luca and Andrea allowed Bruni to explore a vision of post-club jazz that is as rich as Modena's food and as elegant as Modena's cars. Strata-Gemma create a sensual sonic storm, music to be savoured and explored, the opposite of much of today's fast-food music.
Lorenzo Bandiera, the London-based Italian founder of Fly By Night Music, heard a Strata-Gemma demo via friends and was immediately impressed. "I thought 'this is great!", he says. "Music as strong as this can't be ignored. I'm excited about releasing Strata-Gemma."
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Touched Music and Furthur Electronix two forward thinking labels have merged together to put out exclusive compilations. Putting some of the best music in the electronic genre in one place.
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'The Mountain Has Fallen' starts with Systematic,' DJ Shadow and Nas' first-ever collaboration together. The song debuted during the season premiere of HBO's Silicon Valley in April. Horror Show' finds Shadow and Danny Brown collaborating for the first time over a jagged, haunting soundscape. Good News' is a brand new composition, reminiscent of some of Shadow's more free-form, fractured work found on 2016's 'The Mountain Will Fall' full-length.
The EP closes with Corridors,' a piece featuring Academy Award-winning composer Steven Price (who scored the 'Gravity' film). Shadow is a massive fan of his work, and Price wrote and programmed the string parts on the song.
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Gothenburg-based artist Johan Zetterquist delivers his debut album for the excellent iDEAL label, unspooling three extended pieces shaped like sound sculptures.
It's a profound drone metal variant recorded on a Gibson SG, amplifier and effects, live with no overdubs, slowly unfolding to reveal blistered shards of sound that recall everything from Stephen O'Malley to Maryanne Amacher's seminal Sound Characters.
Zetterquist gets a huge amount of mileage out of the contrast between extremes produced on his limited set up, taking us from quiet contemplation to visceral and apocalyptic metallic drones and back again, providing natural catharsis without ever being burdened by elaborate sequencing.
This swell and hum offers many rewards to the attentive listener; aided by Boris Wilsdorf's excellent and detailed recording that lends itself to attentive, immersive listening.
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07042016 (live at St.Paul's Anglican Church, Athens) is the debut album of Modal Analysis, brought by the Greek experimental band of MMMD (also known as Mohammad). Nikos Veliotis and Ilios are currently performing as the MMMD duo, with further focus on deep monolithic sounds, low frequencies, inter-modulations, dark textures, and distant folk nuances through custom made instruments (Cello & Electronic Bass) and software.
The release carries parts of the MMMD live performance at St.Paul's Anglican Church in Athens, recorded on the 7th of April 2016. The concert was hosted by Fasma Festival, on the opening day of its 2016 edition.
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Au-delà is a collaborative record by La Scie Dorée and Meakusma.
It features eight pieces of music by La Scie Dorée affiliates.
For the 2018 Meakusma Festival, La Scie Dorée and Meakusma set up a collaboration that brought performances by Timo Van Luijk, Steven Stapleton, Christophe Heemann, Daniel Denis, Bart De Paepe and Kris Vanderstraeten to the festival in Eupen, Belgium. ... This was followed up with a night organized in the province of Limburg in Belgium featuring performances by Frederik Croene and Timo Van Luijk, Tom James Scott, Ecka Mordecai and Andrew Chalk.
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After three years and ten EPs, Amsterdam's Will & Ink label offers up its first full length from label favorite Yaleesa Hall and is called Woodall. It explores texture, space and sound design in fascinating ways. Since 2014 Yaleesa Hall has released four EPs on the label and has become known for breakbeat laced stripped-down techno. This debut album finds the producer indulging a less dance floor focussed version of his sound, and one that is better suited to the full length format. Explaining that his tracks most often start as "sound structures and experiments" that then get reworked for the club, here they stay closer to their original forms. Woodall is sound sculpture that is electronic and synthetic but also made of real world sounds that are all truly absorbing. Comes in gatefold sleeve.
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Brendan Gregoriy (aka Chymera) returns to A Strangely Isolated Place with his second album under his synthesizer-based ambient moniker Merrin Karras, titled Northwest Passage. Brendan's 2016 debut 'Apex' was needle-point precise in its execution; quantized MIDI notes and sequencers bought unmistakable energy and flair. With 'Northwest Passage' Brendan aimed to create something a little slower-paced and blurred in nature. To achieve this added dimension, the instrumentation is primarily Wavetable and FM synthesis, as well as his small arsenal of analog synths. The result is a glacial feel, reminiscent of the mystery and adventure of the Arctic. The Northwest Passage is the sea route between the Atlantic and Pacific oceans through the Arctic, which is normally only accessible in the summer months. Unfortunately, this passage is opening longer each year due to climate change. With a slightly heavier mood across its eight tracks, the epic, expansive and confident textures and colors of Merrin Karras are however, still instantly recognizable. The star-gazing drones of tracks like 'Passage' and 'He Became Something Else', sit alongside more energetic, pulsing pieces like 'Meridian' and 'Monument'. 'Crevasse' stirs up the drama of a classic synthesizer soundtrack and album closer 'Dominions' brings the turbulent waters to an icy froth. Northwest Passage is a unique take on music that can engulf and enthrall.
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Allt E'nte is a reaction to the emerging expectation on politicization of music. a respons to the demand and implicit condition to be current, relevant and take a stand. Allt E'nte repudiates all responsibility, conveys hardly anything, but hopefully occupies space. Allt E'nte celebrates synthesis and rejects binaries. our hope is that Allt E'nte is as out-of-date in 200 years as it is today. No need to point out the paradox. Sincerely, Vanligt Folk
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The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.
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Up next on Lawrence English‘s Room40 label is Argentina-born, France-based composer Beatriz Ferreyra with her Echos + album. Ferreyra has played a hushed but critical role in the development of musique concrète since its early days, working with the Groupe de Recherches Musicales (GRM) directed by Pierre Schaeffer, with whom she collaborated during the writing of his Solfège de l’Objet Sonore. Echos+, one of only a few collections of her work available on vinyl, collects three of Ferreyra’s most affecting pieces, each of which explores questions of mortality and the afterlife.
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This new release by Colin Potter, "The Abominable Slowman", is the logical follow-on from his previous 2015 LP Rank Sonata'. Like that album, there are elements that were recorded many years ago, but this work also contains new music. Again, the emphasis is on rhythm, although the rhythmic components range from conventional drum sounds to strange electronic and/or mutated outbursts, often accompanied by squalling guitars. As to what this sounds like, keywords would be soundtrack, experimental, ambient, electronic psychedelia, contemporary, drone.... There's constant experimentation throughout the album, a search for never-before heard sounds to create obscure atmospheres and a pleasantly disturbing feeling of disquietude.
The LP is housed in a beautiful grey cardboard sleeve, hand-printed by letterpress, and die cut to reveal the printed inner sleeve, which features a number of pictures of The Abominable Slowman during the recording of the album at IC Studio's current London location.
Colin Potter has been a central figure in the UK's DIY and post - industrial underground since the late '70s. His ICR label, founded in 1981, blurred the lines between post - punk experimentation, crude pop, Krautrock - inspired drone work and contemporary electronica, with releases by everyone from DIY legends The Instant Automatons through Chris & Cosey of Throbbing Gristle , experimental composer Trevor Wishart, drone soundists Andrew Chalk and Darren Tate and Bryn Jones's Muslimgauze. He has also been a key collaborator with both Current 93 and Nurse With Wound, working in the studio with both groups since the late '90s as well as serving as a member of Nurse With Wound's current live line - up. From the late '90s to the late '00s Potter's IC Studio, based in a Victorian Water Tower outside Preston, was a lightning rod for musicians working beneath the radar and a focal point for the nascent UK drone scene. Recent years have seen an upsurge in interest in Potter's solo works.'
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Unreleased album from 1981, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981.
Previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics. Starting life as a performance art piece described by the artists as ‘Western Performance Noir’, the record centres on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious “Archetypal Unitized Seminar,” a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers. Delivered by Friedman, Hanlon, Klingensmith and special guest Maggi Payne in forms ranging from spoken monologue to Country & Western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She’s More Wild is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a ‘pop’ format: we hear the gliding, frequency-sensitive electronics familiar from Behrman’s classic On the Other Ocean and the mutant hacked Speak n’ Spell heard on DeMarinis’ Songs Without Throats propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert’s contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She’s More Wild is an essential document, both immediately gratifying and ultimately thought provoking.
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“The North Bend is about the Pacific Northwest region of the USA, where I lived at the time the album was made. Still, today I consider that region my spiritual home, even though I am now living on the East Coast I had met Lawrence English in Poland back in 2009 and he kindly invited me to make a record for the label. I was a fan of his releases so this was really an obvious thing for me to say “yes” to
and a chance to create something special. I had released a few EP’s & and LP under my name, all influenced by the so-called “modern classical” ambient style pioneered by the late great Jóhann Jóhannsson and minimalist composers like Harold Budd and Arvo Pärt. The North Bend is the first work that dealt with “place” and explored a locality, the first in a series of recordings all released
with Room40. Since this album came out, I’ve left the Pacific Northwest for another location, New York state, which couldn’t be a starker contrast from the life in the PacNW. I had to start from scratch here in NY, as everything I owned until age 36 was stolen the night before I left to drive to NY. It was both a curse and a blessing. Not having the baggage & pitfalls of old ideas was wonderful, but also losing all the recorded & written works I had was harrowing at the time. Remastering The North Bend seemed like a natural thing for me. Not so much as revisionist history, but rather thinking how to make a record sound in a certain way without being able to revisit any of the mixes. In other words, the creative choices I made at the time (2010) are 100% preserved, there wasn’t any opportunity to revisit those, but rather make the record sound as good as I can framed through hindsight and a decade of separation from the period it was created. “
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Limited Blue Vinyl Pressig
'Postsocial' is the breathtaking 8th album from Wold, an infamous black metal unit with strong binds to the landlocked plains of Regina, Saskatchewan in central Canada. 'Postsocial' is a culmination of ideas core to Wold's philosophy, heading deeper into a world of visceral howls and internalised harmonics. Due to the inherent limitations of vinyl, the album now unfolds in a different sequence to the CD, manifesting a crucially altered beast
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A chorus for 2020’s haunted cityscapes, Banshee’s first record of the decade begins by gazing skyward, pushing against the shadow within and seeking magic in the everyday. Refracted utopian visions wilfully conceal the underlying gloom, but after finding temporary relief in the clouds, unfulfilled wishes and fragile fantasies soon dissolve into nightmares and psychic terror, with recursive voices hinting at re-lived trauma creeping through inner worlds like the hand of Freddy Krueger.
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Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.
While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.
Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.
For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.
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Debut album by Smagghe & Cross. Music for blind observers. TIP!
At times, the way the voice skipped intermittently, the recording sounded like an exercise in Uncle Bill's scissors technique but in my defence the mic I was using was hidden. I knew Jean was recording me, he'd asked for an interview after finding my name in one of his black notebooks, Jean didn't know I was recording him. He was tuning into fading echoes and when he thought the tape machine was off he left an echo of his own. "I caused such scenes on the way to and at kindergarten that first day my mother never bothered risking damage to my nascent psyche by making me return. Consequently come first grade my petulance had precluded me from
the nursery school forged friendships of my new classmates. It's why I've always been an observer. But I've never been an archivist. I never wrote the intimate details down. If you fix them on paper there's a danger of shared ownership. The black notebooks contain coded references, the meaning once obvious now somewhat cryptic. Names, some possibly anagrammatical and numbers, presumably long dead phone lines. There are a few sketches but no photographic evidence of any kind. This to most of the population, with it's need for minute by minute high def validation, sounds like a curse. I, however, feel blessed. Evidence is the enemy. Magick for me is the carp in Herman's monastery pond. Brief flashes of gold as i disturb the murky silt of memory." It's there that one of the only two recordings of Jean's voice comes to an end. Jean has his copy obviously but If I know Jean it's long been lost or destroyed.
Andrew Weatherall, January 2017
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Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.
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'Heroes don't care what's cool. Heroes care 'bout what'sright.And that's what makes them so fucking cool.'
Joseph Campbell Jr.
It can now be revealed. Anonymous internet supergroup Drugface is going public, unmasking themselves as Multi Culti audiovisionary Thomas Von Party and Montreal cult legend John Shape, who absorbed the life rights to the Beaver Sheppard Story in an online game of Russian Roulette. If you're reading this, the Von Party element probably makes so much sense that you'll never forgive yourself for not realizing it sooner. The vibes, the production; it was there the whole time. Eagleeared listeners may have ID'd Shape from his Ricardo Villalobos-produced remix pack on Sei Es Drum, or as the singer in German instrumental band Brandt Brauer Frick. Those who guessed both members are now on some kind of list.
'In the Clouds' is the latest single from the secretly prolific duo, a synaesthetic window into a realm where everything tastes like data and everything sounds like mushrooms. Bside 'On the Prowl' is a collaboration with Multi Culti vitamin-shaman Dreems, with the results entrusted to Finnish synth-lord Jori Hulkkonen to ensure everything holds up 9,000 years from now.
For the remixes, Simple Symmetry pull you through a wormhole to the sunny beaches of Moscow, The Beat Escape add massive doses of class and elegance. We tested these descriptions on 50 tastemaker chimps, and all 50 were still at least 'somewhat jazzed' about hearing the tracks anyway.
And of course it goes without saying that Multi Culti is proud to present this.
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limited to 200 copies (comes in different coloured sleeve, we cannot guarantee which one you will receive))
Area's Dreamlessness is the prolific experimentalist's 5th release for Kimochi Sound, and as usually the case, it incorporates some collaborators for the occasion. Donato Dozzy joins, walking the shimmering line between ambient and wall-of-noise, whereas Eltron John's contribution is a beguiling, bubbly, purple affair. The quietly impressive EP is rounded out with the dull neon throb of Everything Thrown Away and the pensive longing of Through The Wall.
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Tilman Robinson’s third album, CULTURECIDE, is an investigation of the anthropocene; a seven part lamentation for our chaotic world.
Tilman Robinson is an Australian composer and sound designer creating electro-acoustic music across a range of genres including classical minimalism, improvised, experimental, electronic and ambient. Tilman’s diverse output focuses on the psychological impact of dense sound employing acousmatic and psychoacoustic principles. His third album CULTURECIDE will be released on Iceland’s Bedroom Community label in April 2020.
CULTURECIDE: “...processes that have usually been purposely introduced that result in the decline or demise of a culture, without necessarily resulting in the physical destruction of its bearers.” D Stein
CULTURECIDE is a rich sonic collage, harvesting sounds from a range sources including field recordings, medical machines that monitor the human body, traditional instruments and synthesisers, often melted electronically. The result is an unsettling paradox with sounds constantly on the edge of recognition. Each piece references a specific socio- political issue ranging from colonialism to neo-liberalism to climate change and the impending singularity of humans and machines. Far from an answer to these questions, CULTURECIDE invites us to meditate on their place in our life and approach personal understanding.
Recorded and produced almost completely in Australia, a land at the forefront of the devastation of climate change, CULTURECIDE was an attempt at catharsis for its author frequently appalled at his country’s incredible apathy and inaction. Mixed by Bedroom Community regular Daniel Rejmer and mastered by Lawrence English, works from the ambitious and unsettling record saw Tilman nominated for the 2019 Melbourne Prize for Music.
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