BADAWI – The Axiom EP Agriculture
CHRIS CONNELLY – How This Ends CD Lens
CYCLOBE – Wounded Galaxies Tap at the Window LP Phantomcode
DEAD MEAT – Early Recordings – Reference 7″+DL Flingco
DEAD VOICES ON AIR – From Afar All Stars Spark and Glee CD Lens
FELIX KUBIN & ENSEMBLE INTÉGRALES – Echohaus LP/CD Dekorder
GHEDALIA TAZARTES – Ante-Mortem CD Hinterzimmer
HANNO LEICHTMANN – The African Twintower Suite LP/CD Dekorder
KANGDING RAY – Pruitt Igoe 12″ raster-noton
LEMUR – Aigéan CD +3dB
LORENZO SENNI – Dunno CD Presto
MICHAEL FRANCIS DUCH – Edges CD +3dB
PHILIPPE PETIT – Iron Man LP Aagoo
RV PAINTINGS – Samoa Highway LP Helen Scarsdale
THE EX – Catch My Shoe LP/CD Ex
TILBURY/DUCH/DAVIES – Cornelius Cardew: Works 1960-70 CD +3dB
TOMAS KORBER / GERT-JAN PRINS – RI 1.5442 CD Cavity
URAL UMBO – Fog Tapes LP Hinterzimmer
WRNLRD – Death Drive 10″ Flingco
The Axiom EP
DL EP The Agriculture AG054
Composer, producer and sound alchemist RAZ MESINAI makes music at the intersection of Dub and modern composition. As a solo artist and with his ensembles, he creates mythic performances evoking ancient rhythms with electronics, acoustic instruments and turntables. His recordings as Badawi have placed him on the forefront of the experimental electronic scene for over a decade, with remixes contributed by such artists as Kode 9, Shackleton, DJ Spooky and Headhunter, and Badawi remixes of Burning Spear, Arto Lindsay and Shackleton. He’s been a fixture of the downtown New York improvised music scene as well since the late nineties, collaborating with such luminaries as John Zorn, Mark Dresser, Elliott Sharp, DJ Olive and many others.
Mesinai’s music has been performed at The Lincoln Center Festival, Zankel Hall, The Kitchen, the Next, Next Wave Festival (BAM), The Whitney Museum, ICA London, Saafelden Jazz Festival, Etnafest, Tonic, The Stone, The Winter Garden, and numerous underground clubs in New York and Europe, including Love, Soundlab, and the legendary Mars, Sound Factory, Limelight and Save the Robots. In recent years, his work has been commissioned and performed by The Kronos Quartet, Ethel, VIA, and cellist Maya Beiser. In 2002 his music received an honorary award in the Ars Electronica Digital Musics category.
Mesinai is also an accomplished film composer. He was a Sundance Composers’ Lab fellow in 2004, and has scored feature films, documentaries, and short films, including Sorry Haters (official selection Toronto Film Festival), Romantico (offical selection Sundance Film Festival) and The Projectionist, for which he won the Herb Alpert Award for Excellence in Music for Film. His music has also been featured in films by Ridley Scott, Jonathan Demme and Darren Aronofsky.
How This Ends
CD Lens Records LENS0117
How This Ends is the 12th solo album by Chris Connelly, and it is certainly the most extreme. Picking up from where 2008’s Forgiveness & Exile tailed off. In some ways, this is an extension of that, where Chris uses an ensemble cast of musicians, orators and non-musicians to produce something that vacillates between an almost serenely melancholic paradise, and a terrifying hellish vortex of noise. There are no songs on How This Ends – rather one long poem that is both spoken and sung by Chris and his collaborators.
“I wanted to compose without any regard to the song-form. I enjoy writing songs, but I’ve done it, and I want to try and move forward. To me, my work now is all about the words, and coming up with the best sounds to augment these words. It doesn’t have to be a musical instrument. I have in my mind a very clear image, almost like an impressionistic film of what it should be like. The hard part is making sure that nothing is wasted, that every word can carry it’s own weight, and that the people I have asked to help are the right people”.
And the subject matter is no less grave than Forgiveness & Exile. Forgiveness (sic) was about torture and people being displaced from their homes in trying to escape fascism. How This Ends is about death, genocide, homicide by corrupt powers upon innocents. It’s about the people who didn’t make it, the ones who either tried, or were taken by surprise.
The ensemble cast is perhaps the most diverse Chris has assembled:
Coonagh (Sugar Bullet)
Tania Bowers (Via Tania)
James Marlon Magas (Magas, Lake of Dracula)
Gordon Sharp (Cindytalk)
Zak Boerger (These Wonderful Evils)
Bill Rieflin (R.E.M., Ministry, Swans)
Brent Gutzeit (TV Pow)
Sanford Parker (Minsk, The High Confessions)
David Levine (Mucca Pazza)
2010 also sees the release of the first album by Chris’s new band THE HIGH CONFESSIONS with Steve Shelley (Sonic Youth), Sanford Parker (Minsk) and Jeremy Lemos (White/Light).
Wounded Galaxies Tap at the Window
LP Phantomcode NAOS 01
Limited Edition 180g 12″ Vinyl Album
Front cover artwork by Fred Tomaselli
Photograph of Cyclobe by Ruth Bayer
Wounded Galaxies Tap at the Window is the long anticipated new album by Cyclobe. Essentially a duo comprising OSSIAN BROWN and STEPHEN THROWER, Cyclobe have created a thrilling and compelling collection of music, which moves effortlessly from realms of cavernous cacophony to moments of blissful delicacy.
The first new Cyclobe music to surface since their ‘death-concrét’ missile Paraparaparallelogrammatica (an album made in collaboration with NURSE WITH WOUND), Wounded Galaxies showcases major new developments, with contributions from Thighpaulsandra (synthesiser/piano), John Contreras (cello) Cliff Stapleton (hurdy-gurdy), and Michael J. York (duduk/pipes). Together, they’ve created an immersive pan-psychedelic dream warren, rich in detail and surprise.
Album opener ‘How Acla Disappeared From Earth’ rides on celestial waves of shimmering synthesisers and vocals, with York’s duduk providing rhapsodic arabesques. The album’s longest piece, ‘The Woods Are Alive With the Smell of His Coming’ (which was premiered in the United Kingdom at The Tate Gallery St. Ives, as a part of the exhibition ‘The Dark Monarch: Magick and Modernity in British Art’) is a 17-minute Pagan opus which fully manifests Cyclobe’s flair for endless invention, developing from a subtly shifting percussive motif, through multiple layers and dizzying cello crescendos, into a truly disorientating sonic invocation. Side Two commences with ‘We’ll Witness the Resurrection of Dead Butterflies (Three Moons)’, in which Stapleton’s hurdy-gurdy transmutes into a keening blizzard of sound. The haunting ‘Sleeper’, with its clustered piano chords and Brown’s beautiful, disembodied vocals, evokes an elegant otherworldliness that’s finally overwhelmed by the monstrous electronic paroxysm of ‘Wounded Galaxies Tap at the Window’, concluding the album on surges of rapturous cosmic convulsion.
‘Wounded Galaxies’ front cover features a stunning artwork by the renowned American artist Fred Tomaselli, whose work has been exhibited at the Whitney and MoMA.
THROWER and BROWN are well known for their work in the legendary group COIL (Thrower played on the band’s seminal 1980s/early 1990s releases, while Brown was involved in their 21st century studio and live incarnations). Among other recent credits, Thrower plays in UNICAZÜRN and the improvising group THE AMAL GAMAL ENSEMBLE, whilst Brown appears on CURRENT 93’s recent, highly acclaimed album Aleph at Hallucinatory Mountain.
Cyclobe’s unique and complex sound-world has been developing and mutating ever since their debut album released in 1999 Luminous Darkness and its unearthly successor The Visitors. With Wounded Galaxies, the group has not only produced their finest and most ambitious work to date, they’ve created an album which can stand tall with the year’s most innovative and exciting releases.
The King + Early Recordings
Ltd. Ed. 7″ Single plus Digital Album Flingco Sound FSS-012
Release date: November 30
The vinyl debut from Miami-to-San Francisco trio Dead Meat is a bold slice of rock. “The King” was the band’s contribution to the 2009 FSS free digital compilation They Don’t Know Unless You Tell Them and it drew plenty of notice with it’s mid-tempo rumble. The track has been remixed for even greater impact and is accompanied by the filthy psych clangor of “Electric Head” and “Rubber Snake.”
In addition to the three tracks on the single; Early Recordings, a 25 minute, 9 track digital album of the Dead Meat recordings to date has been compiled. The trio have absorbed the asphalt drag of primo-era Touch & Go/ Amrep, the swampland shudder of Scientists, and the dead-eyed stare of Joy Division and combined them with a concise and direct delivery all their own. Six of the nine songs on Early Recordings clock in under 2:50. This is what Dead Meat offer those bored to death by indie rock anemia and listless “experimentation.”
500 copies of the 7″ have been printed and each single includes a fold out insert and a download code for Early Recordings. The digital album is also available separately.
These recordings were mastered and the single was cut to lacquer by Jason Ward at Chicago Mastering Service.
“Štwo chord stomps of the hung-over and on-edge. ŠAll give you dread and catharsis.” Ben Ratliff New York Times, March 14, 2010
“Gotta love the singer’s hateful howl, the way the guitars slide like suicide blades across the ear holes, and beats that throw you into a high-volume pummel.” SF Weekly Jan. 22, 2010
“The band’s name suggests hostility, while signifying mortality, and rightly so: This is not happy music. Droning heavy psych-rock with sociopathic undertones might describe their sound as they seem to dwell in the dark recesses of the mind. For those of you with some demons to exorcise, Dead Meat might be your go-to shaman.” Ryan Villarreal SF Gate, Jan. 21, 2010
Joe Santarpia – vocals, guitar, bass
James Mcneal – bass, guitar, vocals
Roberto Pagano – drums
DEAD VOICES ON AIR
From Afar All Stars Spark and Glee
CD Lens Records LENS0118
From the poem Apprehension:
“Only from afar all stars spark and glee; Only from afar we admire all.”
From Afar All Stars Spark And Glee is a landscape of blurred atmospheric coils – shards that manage to sound simultaneously recognizable and from another place. It features his Download and Beehatch colleague Phil Western on two tracks and American-Serbian singer Ivana Salipur on the title track, a homage to the Serbian poet Desanka Maksimovic (1898-1993). The album is presented in a digipak featuring photographs from the timeless landscape of Patagonia by Argentinean artist Marco Roberti.
This is the fourteenth album by Dead Voices on Air and the second to be released in 2010. It’s been a busy year for MARK SPYBEY, touring as Dead Voices On Air and with Download in North America and working on projects with fellow Zoviet-France alumni Robin Storey as Reformed Faction. Mark has just released an album with the Austin, Texas based musician Tony D’Oporto under the name Gnome and Spybey. Mark is also working with Simon Fisher-Turner and will be recording later this year with Chris Connelly.
Dead Voices on Air are touring North America as part of the Subconscious Records Beyond Fest with Download and others this Fall and again in early 2011.
Spybey is one of those quiet, head down collaborators who folks seem to want to work with. Over the years he was part of Can guitarist Michael Karoli’s band Sofortkontakt! He’s toured with Michael Rother of Neu! and Dieter Moebius of Cluster and remixed Faust. He made albums with James Plotkin and worked with Mick Harris of Scorn. During his time in Vancouver, he became part of Download and has remained in close musical contact with cEvin Key and Phil Western. He’s released music with labels such as Klangbad, Kranky, Soleilmoon, Nettwerk, Invisible, Scratch, Spoon, Tourettes and Lens – now home to Dead Voices on Air.
FELIX KUBIN & ENSEMBLE INTEGRALES
LP/CD Dekorder 049
Release date: December 13
This latest project by the Hamburg-based musician, composer, and futurist, Felix Kubin, (his second release on Dekorder) is a collaboration with the contemporary music chamber group, ensemble Intégrales, and the reknowned German underground pop producer and sound engineer, Tobias Levin.
Echohaus was recorded in and around Levin’s Electric Avenue studio in the basement of WESTWERK, a former squat and cultural centre for non-commercial art and music in Hamburg. A special recording technique was developed for the project whereby the musicians played simultaneously in separate rooms, connected to one and other only by headphones. This was done in order to achieve a lively,”cinematic” sound that made use of the particular dynamics of the rooms and amplified mechanical details. The rooms, each of which had a different acoustic character, were used as natural echo chambers. Kubin and ensemble Intégrales’ artistic director, Burkhard Friedrich, provided the musicians with simple graphic scores or basic descriptions of the compositions; all subsequent material was developed on the fly. Kubin was in the mixing room giving instructions and suggestions, while the musicians played and improvised, adding their own ideas to the project.
No artificial reverb or effects were added to the recordings. The different types of rooms and microphones, noises inside and outside of the studio, as well as the unusual interrelationship between the physically isolated players became part of the process. All the tracks were recorded in one take without any additional layers or track-by-track recordings. After a five-day recording session Kubin and Levin created various mixes which Kubin then edited over a period of several months.
The final results mark yet another radical departure from Kubin’s trademark Sci-Fi Pop sound, blending the aesthetics of academic contemporary music, film soundtracks and improvised music with a strong focus on room-specific natural acoustics.
Felix Kubin has released highly acclaimed albums on A-Musik, Dekorder and his own Gagarin label. He has recently been featured on the front cover of The Wire magazine, released his first short movie collection, directed several radio plays and is currently finishing the production on his forthcoming Sci-Fi Pop album.
Ensemble Intégrales was founded by Burkhard Friedrich and Barbara Lüneburg. Their repertoire includes classics by Karlheinz Stockhausen, John Cage, Iannis Xenakis, Alfred Schnittke, Giacinto Scelsi, Steve Reich, Alvin Lucier, György Ligeti, Frederic Rzewski, James Tenney, Morton Feldman, Cornelius Cardew, Mauricio Kagel and new music from China, Austria and the UK.
Tobias Levin is a German producer and engineer. The bands and musicians he has recorded range from pop to avantgarde, including Tocotronic, To Rococo Rot, Faust, Tied & Tickled Trio, Christian Naujoks, Chrstoph Kurzmann & John Butcher, Lol Coxhill or Kreidler. He is specialized in recording special live situations working mostly on productions with groups. He is also a founding member of legendary avant pop group Cpt. Kirk &.
CD Hinterzimmer Hint09
Ante-Mortem is a new Ghédalia Tazartès studio album.
Ghédalia Tazartès was born 1947 in Paris, where he still lives, to Turkish parents. He is one of those long time activists who do not have a tremendous list of releases. Within the 31 years since his first musical oeuvre – Diasporas in 1979 – he only released 9 albums and a few EPs. Nonetheless he is praised as being one of the most creative European experimental artists and is often mentioned as an important influence on a lot of todays underground music exponents. Of course he was on the legendary Nurse With Wound-listŠ
Ghédalia Tazartès’ music has always been a mystery. It switches from musique concrète to – existing or invented – ethnic music, from poetry to noise, or from loops and collages to sad and extremely beautiful tunes in a second, but it constantly is in flux and coherent. Or like André Glucksmann wrote: “Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker (Š) Ghédalia is the orchestra and a pop group all in one person; the solitary opera explodes himself into an infinity of characters. The self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. Off Limits, music descends, cries and screams when it touches the ground.”
Hinterzimmer Records is extremely proud to release one of Ghédalia Tazartès’ major works of the last 20 years, Ante-Mortem. Although simply named 1 to 23, the CD bears a collection of very diverse tracks, a couple of them connected in a thematical frame, others simply standing for themselves. What holds them all together is first and all Tazartes’ archetypical voice. One could say that Ante-Mortem contains some of his harshest ever tracks as well as a couple of his most humorous ones. Generally it is more than exciting to hear that some parts of Ante-Mortem could as well have been created around the same time as his masterpiece Une Eclipse Totale De Soleil – his music sounds as timeless as it did 30 years ago. Nobody else ever sounded like Tazartes. Ante-Mortem sounds like Tazartes at its best.
The African Twintower Suite
LP/CD Dekorder 048
Release date: December 13
October 2005: Seminal German director CHRISTOPH SCHLINGENSIEF (R.I.P. 2010) shoots his latest feature film The African Twintowers in Lüderitz/Namibia with Irm Hermann, Klaus Beyer, Robert Stadlober, Patti Smith……..
Autumn 2006: Schlingensief approaches Berlin musician/composer Hanno Leichtmann (Groupshow, Static, Denseland) regarding a soundtrack for the film. There were hours and hours of raw material; the concept being a movie with few dialogues and music throughout – a 90 minute psychedelic collage; an associative visual and sonic trip.
With the help of John Nijenhuis aka Sir Henry as well as a trio of musicians playing Indian music (tabla, sitar, tampura), they started to improvise in Leichtmann’s recording studio projecting film sequences on a wall. Within 4 days and nights an enormous amount of tracks had been recorded and several rough mixes had been compiled.
After a while though, Schlingensief decided to shift the concept. The film transformed into an art installation with 18 monitors showing sequences simultaneously (presented at the Berlinale and Steirischer Herbst), and later on, a kind of “Making of…” with 90% off-comments by Christoph Schlingensief and very little music was made.
Thus, The African Twintower Suite represents a lost soundtrack; compiling the most interesting recordings, newly edited, layered, collaged, shortened and mixed between 2009 and 2010.
12″ EP raster-noton R-N 124
Anticipating Kangding Ray’s forthcoming album, due this winter, comes Pruitt Igoe – a 4 track EP on which both Alva Noto and Ben Frost have been invited by Kangding Ray to produce sonic variations on a contemporary architectural myth. The EP’s title Pruitt Igoe is taken from a gigantic social housing project, completed in 1955 in the U.S. City of St Louis, Missouri, and often regarded as a symbol of the modernist architecture failure. Designed according to the principles of modernism, and by the same architect who would later build the World Trade
Center, the project saw a disastrous and violent decline after only a few years, plagued with vandalism and massive criminality, leading to its complete destruction from 1972 onwards. Footage of its demolition are visibly featured in the 1983 movie “Koyaanisqatsi”, scored by Phillip Glass.
Pruitt Igoe is more than a post-modern icon, it represents an ancestral movement of hope and disillusion, of perfectly planned models and evaporated dreams. It serves as a judicious metaphor for our era, where the feeling of imbalance and doubt has replaced the certainity of eternal progress and endless economical growth.
This movement is reflected by the two sides of the record: on the A side, the original track and its remodel by Alva Noto, both represent the planning and construction phase, based on a clear structure and a hypnotic loop of women chanting in the streets of a small town in North India. On the B-side, Ben Frost and Kangding Ray undertake the demolition process – slicing beats, destroying structures and emphasising the beauty of collapse.
CD +3db 011
Lemur presents their latest position in the quest for a new improvised chamber music: Acoustic sound-oriented music from four highly original players.
Bjørnar Habbestad: Flute
Hilde Sofie Tafjord: Horn
Lene Grenager: Cello
Michael Francis Duch: Double bass
Aigéan is Lemur’s awaited follow-up of the acclaimed debut IIIIIIII from two years ago. Continuing their work to develop an improvised chamber music with an emphasis on sonic experimentation and ensemble character, the ensemble delivers a darker and more fragile album. More open to explore the particulars in each piece, the ensemble seems to strenghten their sound and delivers a truly insisting and strongly crafted album.
Lemur has found their position as one of Europe’s truly original improvising ensembles. The four instrumentalists combine their work from classic composition, noise, chamber music and free jazz making a highly surprising and unique blend of contemporary sound and attitude. Since their first performances in 2006 the ensemble has done a series of tours in Scandinavia, Europe and Asia – to great acclaim.
CD Presto P!?014
Produced, edited, mixed by Lorenzo Senni and mastered by Marcus Schmickler, Dunno is the very first official release from 27-year old Italian founder of Presto!?; his previous release Early Works (2007) is a collection of old re-edited tracks mainly influenced by early laptop heroes Mego style.
Now with Dunno we have a pure computer music record where digital psychedelia meets brutal pulasr synthesis trains and sharp FM streams. Built up with a double approach, Dunno, is something between vintage experimentalism of the computer music pioneers and the new digital brutality of fat, acid glissandos and shepard tones in rave style. Using a large palette of computer synthesized sounds and a sophisticated musical awareness he creates ten tracks of beautiful artificial energies and abstract pleasure (Rolf Delley, QJ)
Lorenzo Senni (b. 1983) is a multidisciplinary artist and composer residing in Milan. He studied Musicology at Alma Mater Studiorum University in Bologna and he is author of electronic audio works. Using different kind of real-time digital sound synthesis combined with old evergreen software from the seventies-eighties he spits out abstract streams of radical computer music. Now he is involved in computer music studies and he is working on a long term project focused on “the evolution of the laser use in electronic music performances” . His research interests include algorithmic methods in the arts. He has toured throughout Europe and Japan, collaborates with theatre companies as Orthographe and Pathosformel and supported concerts by KTL, John Wiese, EVOL, Dave Phillips. He is founder of Presto!?, label who collaborated with artists such as Carl Michael Von Hausswolff, Marcus Schmickler, John Wiese, Lasse Marhaug, Alberto De Campo, Werner Dafeldecker, EVOL, Lawrence English, John Hudak, just to name a few.
MICHAEL FRANCIS DUCH
CD +3db 010
First solo album from bass player extraordinaire Michael Francis Duch, exploring 1960’s experimental works as vehicles for contemporary improvisation.
Duch is a highly generous musician and improvisor. This is equally audible as he moves in the outskirts of reductionism, flirts with noise, engages in the domain of contemporary composition or happily endulges in the joys of free jazz. Mixing a keen and exploring sense of sound with firm and insisting formal thinking, he approaches his bass both as a source of personal expression and as a tool to discover new ways of music making.
Having performed internationally over the last ten years and contributed to more than 20 recordings, Michael brings a wide range of influences to his current project: A quest to revisit, test and bring new life into the sparse scores of early experimental music. These works, although composed as tools to inform non-improvisors challenged to leave the conventions of traditional notation, are being set up as vehicles to rearticulate the ideas of a full fledged free improvisor.
Duch’s album is the first in a new series from +3db called Music for ONE – showcasing artists working with different forms, strategies and approaches to improvising in a solo format.
Michael Francis Duch (1978) was born and raised in Trondheim, Norway. He is currently a research fellow at the University of Trondheim doing research on Free Improvisation and the use of improvisation in experimental music. Duch plays in a trio with Rhodri Davies and John Tilbury, the rock band Dog & Sky, the improvquartet Lemur with Bjørn Habbestad, Hilde Sofie Tafjord and Lene Grenager, dronetrio Tricycle with Anita Kaasbøll and Nicos Veliotis, acoustiv post noise duo Origami Tacet with Tore Bøe, and different other constellations. Ad hoc collaborations with Otomo Yoshihide, Taku Sugimoto, Sachiko M, Mark Wastell, Mattin, Mats Gustafsson, Peter Brötzmann, Jaap Blonk, Gert-Jan Prins, Christian Wolff, Tony Conrad, Cadillac, the Kulta Beats and Salvatore amongst others.
Scores Henry : The Iron Man
LP Aagoo Records AGO030
Aagoo Records (NYC) presents the re-release of Philippe Petit’s acclaimed first album, HENRY: THE IRON MAN. Originally released on CD by Beta Lactam Ring Records in 2009, this seminal work is now available on glorious vinyl.
Petit considers himself a “musical travel agent” and Henry marks his maiden voyage over soundscapes of the unconscious. Inspired one night while sleepwalking on a lost country road, Philippe dreamt that Shinya Tsukamoto was working on a blurred remake of Eraserhead, and in the dream, Petit knew that he was to score the soundtrack of Henry’s mutation into an Iron Man. And so this dream sowed the seed for an album that Petit would make real. A visceral musical voyage — an intricate and imaginative soundtrack, gathering both organic and sonic elements and giving life to a noisy magma where unexpected clicks stumbled over interferences — where digital accidents happened, and drones and acoustic resonances filled the spaces in time.
Exploiting the physical virtues of vinyl, Petit manipulates the material, fondling cracks and releasing noises until they resonate into a vertiginous movement of sound. The result is both sonic and visual: a conjuring of flashes, grainy black and white pops, behind-the-scenes close-ups, and rapid nightmarish stop-motion effects.
Henry: The Iron Man is not only about Henry’s transformation; it’s a journey for the listener who transforms as well.
« As an aural journey, Henry: The Iron Man is quite an achievement + an opportunity to really focus on Petit’s work and experience his creativity and original techniques. » ALL MUSIC GUIDE (2010)
« Even without using any of the original source material, Petit combines the schizophrenic noise chaos of Eraserhead with the abstract industrial dystopia of Tetsuo, and the combination works out very well. The symbolism is wonderful here. » BRAINWASHED (Jan 2010)
» A complete and total form of artistic expression. Strange, creepy, unsettling… dark and hypnotic. TOP PICK. » BABYSUE (Jan 2010)
LP The Helen Scarsdale Agency HMS019
RV Paintings were born in California. Humboldt County, to be exact. It is nearly impossible to imagine their origins being elsewhere since the brothers BRIAN and JON PYLE, who currently pilot RV Paintings, constantly mine the metaphysical properties of their homeland through a heavy-lidded psychedelia. The redwood trees that majestically rise from the rugged terrain may have been one of the endemic objects that inspired RV Paintings to “jam nature;” but Humboldt County’s other major cash crop — marijuana — cannot be far behind. As much as the Pyle brothers channel a psychotropic animism through sound, their diaphanous drones and foggy ambient tangles spring from a schematic intelligence that belies any method acting of getting stoned and jamming in a room.
Samoa Highway is the second full album for RV Paintings, following the nature jam transmissions of Trinity Rivers published by Root Strata in 2007 and a well-suited split LP with Taiga Remains from Blackest Rainbow. Just as the debut payed homage to the rugged river system that cuts through forests and mountains of the region, Samoa Highway refers to the lengthy bridge that runs between two coastal communities in Humboldt County, one of which houses a municipal airport. A swarm of drone guitars announces the opening of the record on “Millions,” with a shoegaze wash collapsing into rarified tone purity and bulging through a metallic buzz. Field recordings of airplane take-off and firework explosions punctuate the undulating bleary smear of the Pyle brothers’ guitars. The result is one of levitation, even as RV Paintings seem to be plugging their guitars and electronics directly into the moss, soil, and mycelia of the Humboldt forest. Echo-soaked flutes, maudlin strings, scabrous noises unearthed from the bottom of the Pacific, and a cinematic arcs of guitar shimmer complete the beautiful and haunted miasma of Samoa Highway that falls somewhere between Taj Mahal Travellers, Organum, and The Caretaker.
Brian Pyle may be best known as one of the founders of the Starving Weirdos and records his solo work as Ensemble Economique. Samoa Highway stands the first piece of vinyl published by Helen Scarsdale Agency and includes a code for a digital download. Pressed in an edition of 500 copies.
Catch My Shoe
LP/CD Ex Records EX123LP
Some statistics: THE EXs 25th CD/LP release on their own Ex Records and 123rd release
in total. Catch My Shoe is the first CD with their new singer Arnold de Boer.
The songs range from The Ex versions of high energy Gurage music from Ethiopia (“Eyoleyo”)
to hypnotic full on dance tunes like “24 Problems” and “Double Order”.
The sound is unmistakably The Ex but with new vocals and Konono style catchy guitar riffs
from Arnold and crunchy baritone guitar melodies from Terrie and Andy all propelled along
by Kat’s relentless driving “African” beats.
The songs range in subject matter from climate confusion, unexpectedly throwing surprise
objecs, optical illusions, deceitful cropdusters, ice picks and late trains.
“In a decade when everyone from the Incredible String Band to the Jesus Lizard has staged
a comeback, The Ex top them all; not only are they still together thirty years after they
first came together as a punk quartet playing gigs in Amsterdam squats, they’ve never
compromised their values, and their music has never sucked.
Key to their success is a commitment to constant change and improvisational acumen that
enable them to turn circumstances that might break a lesser band into opportunities for
growth.” Bill Meyer, Chicago
Recorded in Chicago at Electrical Audio by Steve Albini, March 22-24 2010.
Mixed in Amsterdam in Andys room by The Ex.
Mastered in Chicago at Chicago Mastering Service by Bob Weston.
Cornelius Cardew: Works 1960-70
CD +3db 012
John Tilbury: Piano
Rhodri Davies: Harp
Michael Francis Duch: Double bass
Six stellar performances of Cornelius Cardews chamber music – A clear, crisp and openminded reading of the enfant terrible of british experimental music.
Cornelius Cardews music from the 1960’s is arguably from his most creative and experimental period as a composer, beginning with Autumn 60 and ending with the last paragraphs of The Great Learning in 1970. This recording is a document of the tension in Cardew’s production. A portrait of the composer leaving the avant garde he got to know from his work with Stockhausen and John Cage and entering the scene of improvised music as he would get to know it in AMM.
JOHN TILBURY (1936) is “The grand old man” of british improvisation music. Tilbury is considered one of the foremost intepreters of Morton Feldman’s music, and since 1980 he has been a member of the free improvisation group AMM. He worked with Cornelius Cardew and has written the biography Cornelius Cardew – A Life Unfinished, published in 2008.
RHODRI DAVIES (1971) is a harpist particularly interested in exploring noise, silence and abstract sound on his accoustic and amplified instrument. He has been very active on the London improvisation scene since 1995, and performed vividly in Europe, Japan, Canada and USA.
MICHAEL FRANCIS DUCH (1978) was borned and raised in Trondheim, Norway. He is currently a research fellow at the University of Trondheim doing research on Free Improvisation and the use of improvisation in experimental music.
TOMAS KORBER / GERT-JAN PRINS
CD Cavity 03
Tomas Korber: guitar, electronics
Gert-Jan Prins: electronics
recorded at “la Saline Royale d’Arc-et-Senans”, France, July 2009
recording equipment provided by Fred Bühl
mastering by Tomas Korber
artwork by Gert-Jan Prins
thanks to: the team of Nuit Bleue,
NFPK, The Hague, The Netherlands
limited release: 337 copies
Collaborative audio project by two masters of radical electronics and long line composition who have been working together since 2008. Sprawling over the full 74 minutes of a Compact Disc, RI 1.5442 offers a powerful yet subtle approach in the time and energy domain. It was recorded in an afternoon session during the Nuit Bleue event at The Saline Royale (Royal Saltworks), a historical, utopian building complex by architect Claude-Nicolas Ledoux in
Arc-et-Senans in eastern France.
TOMAS KORBER works as a composer, producer and improvising musician. His primary focus lies in the areas of experimental electro-acoustic music, songwriting and music for film and theater. In addition to his work as a solo artist, he has collaborated with uncountable musicians from all around the world and has performed extensively across Europe, Japan and North America. Korber has studied psychology and computer science at the University of Zurich and holds a Master of Science degree.
GERT-JAN PRINS is an artist who focuses on the sonic and musical qualities of electronic ‘noise’. In his work, Prins makes connections with modern electronic club culture, occupying a radical position with his investigation of electronic sound and its relationship to the visual. Prins has created electronic systems with circuits from transmitter- and receiver techniques, which produces complex feedback sounds . Prins does regularly solo concerts, many collaborations and is a member of Synchronator, and M.I.M.E.O.
LP Hinterzimmer Hint10
Ural Umbo was formed in 2008 by Reto Mäder (Bern/Switzerland) and Steven Hess (Chicago/USA).
Following their mystical, dark and haunting self titled debut album on Utech Records (home of Aluk Todolo, Horseback, Final, Skullflower, Runhild Gammelsaeter, James Plotkin…), Ural Umbo return with their follow-up release, an even more dense, forward-thinking, nebulous post doom record. Ural Umbo cannot conceal their love for the modern forms of Doom and Black Metal. Still, they are far away from just adding another part to the Experimental Metal or Drone Doom catalogue. They rather focus on film score-ish compositions, bizzare atmospheres and haunting melodies coming from somewhere beyond, plus they use a broad spectrum of instruments instead of limiting themselves to downtuned metal guitars or sluggish drums.
As the name Fog Tapes implies, the basic tracks were recorded directely to analog tapes. In a second step they enriched the raw material with layers of filigree percussion from bowed cymbals, wind chimes, glockenspiel and the like. This resulted in an organic and hypnotic mixture of lurking electro-acoustics, atmospheric black metal approaches, epic drones, slowly evolving melodies, doom mantras and an overall psychedelic atmosphere. Sometimes it sounds like a poltergeist tapping and scraping in the speakers. But even when Fog Tapes is monolithical in its nature, the overall sound is surprisingly fresh and suffused with light.
Reto Mäder: Bass guitar, strings, organ, synthesizer, horns, kalimba, percussion, drums, tapes, electronics, edits
Steven Hess: Drums, percussion, electronics, tapes, edits
Recorded 2009-2010 in Bern and Chicago. Mixed & mastered by Reto Mäder at Hinterzimmer Bern in 2010. Cut by Jason Ward at Chicago Mastering Service. Cover and poster insert photographies by Rik Garrett. 8 Tracks, 43:39.
RETO MÄDER works solo as RM74 and also in the groups Sum Of R and Pendulum Nisum. In 2006 he collaborated with Ralf Wehowsky/RLW for the Crouton release Pirouetten. He produced albums for Rhys Chatham (The Bern Project, 2009) and for Herpes Ö DeLuxe (Kielholen, 2007). Since 2006 Reto Mäder runs the label Hinterzimmer Records together with Roger Ziegler.
STEVEN HESS performs with Haptic, On, Locrian as well as solo. He collaborated with the likes of Stefan Németh, Pan American, Christian Fennesz, Robert Hampson, Helge Sten, Martin Seiwert, Greg Davis, Machinefabriek, Jon Mueller and appeared on recordings by Dropp Ensemble, David Daniell + Douglas McCombs, Male, Sylvain Chauveau and Fessenden to name a few.
Death Drive EP
Ltd. Ed. 10″ EP / Digital EP Flingco Sound FSS0011
Release date: November 30
As Blodarstid blog observed, Wrnrld is “almost certainly among the more obscure black metal projects currently active within the US, truly existing outside of any ‘scene’ and creating for the purpose of self above all else.” Wrnlrd is also a visual artist who designs the artwork for all the releases.
The Wrnrld monolith began emitting signals in the form of CDs in 2005, releasing them under its own Order of the Cloven Eye imprint. The Oneiromantical War LP was the inaugural release on FSS in 2008.
Where does Wrnlrd fit into the schema of extreme music? Whatever box you is throw the new EP into (black metal, experimental metal, outsider, one man band, whatever…) Death Drive easily escapes. It could be the pedal steel guitar on “Midnight Drive”, squelchy tones on “Grave Dowser”, the wobbly piano piece “Luster” or the accordion intro to the title track that does it. The common thread in Death Drive remains the gnarled darkness that characterize the four CDs and 2 LPs in the Wrnlrd catalog. Wrnlrd continues to stand alone. “Midnight Ride” features guest vocals from Dwid Hellion of the legendary hardcore band Integrity.
Wrnlrd recorded in Arlington, VA between May and December 2009. Other recordings were made between March and May 2010 in Chicago, Louisville and Gent, Belgium
Death Drive is available as a limited edition 10″ EP, in a die-cut sleeve with a fold out poster and patch included with a download code for a digital copy of the EP. It is also available as a digital EP.
Jason Ward mastered the tracks and cut the lacquer at Chicago Mastering Service.
Virginian black metal auteur Wrnlrd continues to make some of the most dazzling and experimental material the genre could permit. – Boomkat Oct. 27, 2009
Ultimately, this music has power regardless of what you call it. – Anthony Abboreno, Invisible Oranges March 15, 2010
…every Wrnlrd record seems to blow our mind more than the last. – Aquarius Records, Nov. 6, 2009
Myrmidon conjures the full spectrum of metallic elements: guttural growls and epic female (I think – is “Buccinator” a woman’s name?) shrieks; riffs of classic grandeur; sun-slaying solos; and a forest of guitar thorns that close in on you at the end. It’s all arranged and played with frightening power; you will find it to be quite diabolically awesome. You have no say in the matter anyway – as Wrnlrd’s mysterious blog instructs, “Whatever your diamond says to do… you do it without question.” – RCRD LBL Oct. 10, 2010
Iksnis: Lead Guitar, Piano, Accordion
Wrnlrd: Guitars, Bass, Drums, Vocals, Computer
Additional Musicians on “Midnight Ride”:
Dwid Hellion: Vocals
Bill Hanks: Pedal Steel
Mask of Hate CD [Order of the Cloven Eye] 2005
Madlthr CD [Order of the Cloven Eye] 2006
In From the Night Herd CD [Order of the Cloven Eye] 2007
Cperadt CD [Order of the Cloven Eye / Small Sacrifice] 2007
Pentagon CD [Order of the Cloven Eye] 2007
“Oneiromatical War” on Various Artists Drone Season III CD [Brise-Cul] 2007
Wrnlrd-Buer Avulsion 3 inch CDR [Brise-Cul] 2007
Oneiromantical War LP/ Digital Album [FSS] 2008
“Hoax 1” and “Hoax 2” on Various Artists The Black Box Soundbox [FSS] 2009
Aenmity Shining Digital EP [Order of the Cloven Eye] 2008
Myrmidon LP/ Digital Album [FSS] 2009
GREIE GUT FRAKTION
22/10 DE – Volksbühne, Berlin
Oct 23 BE Brussels, Plastic Club
Jan 03 ES Madrid, La Casa Encendida
May 22 BE Eindhoven, Van Abbemuseum
Oct 29 DE Heidelberg, Enjoy Jazz Festival
Nov 04 DE Berlin, About Blank
Nov 20 RU Moskow, Dom
Nov 27 PT Porto, Passos Manuel
Dec 16 DE Berlin, Berghain
Nov 06 AT Weis, Music Unlimited
REINHOLD FRIEDL / ZEITKRATZER
Nov 03, 04 & 05 DE Zeitkratzer, SWR Baden-Baden, Karlsruhe & @ Berlin Jazzfestival
with Terje Rypdal & Palle Mekkelborg
Dec 01 FR Reinhold Friedl: Inside-Piano, Paris, Les instants chavirés
Dec 15 SR Reinhold Friedl: Inside-Piano, Belgrade
Thanks for reading & best wishes
T: +49 30 288 60 500