AARON ISLAMB / HAUSCHKA – Cover Up 10″ Care in the Community
ARTURAS BUMSTEINAS – Pastoral DL Crónica
BEN GWILLIAM / JASON ZEH – Dots CD Korm Plastics
CHARLES-ERIC CHARRIER – Silver LP/CD Experimedia
COH – IIRON 2LP/CD Editions Mego
EVIL MADNESS – Super Great Love CD Editions Mego
EVOL – Rave Slime 12″ Alku
FALTY DL – You Stand Uncertain 2LP/CD Planet Mu
KK NULL / Z’EV – Extra Time, Extra Time CD Korm Plastics
MARKUS REUTER – Todmorden 513 CD Hyperfunction
NATALIE BERIDZE / TBA – Forgetfulness CD Monika Enterprise
ROTTERDAM – Cambodia CD Everest
STEVE MACKAY – Sometimes Like This I Talk CD Radon
STUART SWEENEY – 16:9 CD Oomff
SVEN KACIREK – The Kenya Sessions CD Pingipung
TAPRIKK SWEEZEE – Poly 12″EP Zoikmusic/Musik aus Strom
UNITED SCUM SOUNDCLASH – Machine Gun CD Soopa
V.A. – 14 Tracks from Planet Mu CD Planet Mu
V.A. – A Tasty Swarm of Small Signals DVD Störung
V.A. – Historische Aufnahmen v.1 LP Gagarin
AARON ISLAMB / HAUSCHKA
10″/DL Care in the Community CARE005
Aaron Islamb is rumoured to be the alter ego of one of the song writers and band members of The Bees. Cover Up is the second release from Aaron Islamb who, referring to himself as “a puritan in sonic formulas”, presents an unrelenting, frenetic and infectious track of heavy dancefloor minimalism.
Rather than requesting a remix care in the community recordings selects artists of interest to interpret the A side to produce an original version and in effect a double A side record. For Cover Up the label commissioned Hauschka, the German composer who came to attention for his prepared piano performances (and has recently released his third album on Fat Cat’s 130701 imprint) to produce a work in counterpoint to Islamb’s. The result is a stirring piece that appears to start almost accidentally in its fragility, foregrounding the uncertainties of the prepared piano technique, but slowly develops an intensity and weight as purposeful as the A side. The release will be available on limited heavyweight 10″ vinyl as well as download.
P a s t o r a l
DL Crónica 055
Arturas Bumsteinas is a composer of acoustic and electronic music (graduated from the Lithuanian Academy of Music and Theater), the founder of international ensembles Works and Days, Quartet Twentytwentyone and a visual artist represented by Antje Wachs Galerie in Berlin. He lives and works in Vilnius and Warsaw. Crónica is very proud to present this new release, Pastoral in its unlimited series of editions.
01 Boletus Satanas (9:39)
Laimonas Masevi?ius: tuba.
Recorded in the studio of Lithuanian Composers’ Union in January of 2010.
Once I was picking mushrooms in thick Polish forest and i found this mushroom called Borowik Szatana. Encounters with Satan always leave long lasting impressions. A bit later I came up with the concept of Polish Roulette which is simple – “go to the forest and eat the first mushroom you find there”. This piece sounds better if sped up substantially. Dedicated to Krzysztof Gutfranski.
02 Dough (16:48)
Lina Lapelyte: violin; Tuto Ensemble: kankles, birbyne, barskutis.
This piece was recorded live in an open-air concert which celebrated City of Vilnius as an European capital of culture in June of 2009. If listened on high volume (and preferably on headphones) then in the beggining it’s possible to hear faintly somebody saying “?, nachuj” and in the end, together with the applause, one can hear an audience member saying “A?i? u? pabaig?, blet”. Let it never be translated into english language but rather kept preserved as an unique stratum of our complex cultural heritage. This piece is dedicated to Birut? Asevi?i?t? who commissioned me to write it.
03 Violin, Viola and Untitled (6:27)
Lina Lapelyte: violin; Kestutis Pleita: viola.
Recorded live in Mari? Klavyrai festival in Klaip?da in October of 2003. This piece could be approached as an exercise in several kinds of superimpositions in micro and macro levels. Micro level is taken care by computer which multiplies the same layers of extremely short loops and superimposes them on top of each other – this way producing minimalistic variations of timbre. Macro level is intended for harmonic explorations which is carried out by string instruments who play the canon of identical harmonic series. This piece is dedicated to an empty room.
04 Widna (23:23)
Seth Josel: guitar; Eva Zöllner: accordion.
Recorded in “Studio 10 0 10” in Berlin (sound engineer Jacopo Carreras) in December of 2009. “il Widna” means “an ear” in Maltese language. In Polish it means “bright”. Somehow this reminds me of the title of my recent exhibition called “Transparent Ears”. But this long piece is in no way transparent nor related to my visual arts. Dedicated to Miguel Carvalhais.
BEN GWILLIAM / JASON ZEH
Brombron 16: Dots
CD Korm Plastics KP 3036
Korm Plastics is proud to present the sixteenth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn’t have the time or the equipment to realize.
Jason Zeh, a magnetic cassette tape composeur and xerox artist from Bowling Green Ohio, creates music that successfully combines elements of drone, electro-accoustic and noise. Zeh’s work relies on the creation of intimate social encounters through the use of extreme quiet punctuated by steep inclines toward moments of extreme loudness. Live shows combine a mixing of previously recorded source sounds with real time manipulation of cassette tape through the use of modified tape decks and dismantled cassettes. The relationship Zeh has to the cassettes and tape decks used to record and manipulate the sounds is not unlike that of many laptop artists in terms of the meticulous sculpting of sound that is employed in order to create emotionally charged and aesthetically dynamic compositions without the stifled and overly technical feel of some electronic music produced by computers.
Ben Gwilliam (b. 1980) is a sound artist active in the fields of sound installation, curation, improvising new music and performance. He describes his practice as drawing attention to those sounds between things, be it objects, spaces or recordings. It is these sounds and their contexts that reveal visual and musical processes of listening and looking. It is from this curiosity about sound-making/recording/finding and how abstract/descriptive that sounds can be, that he makes parallels and similarities unpicking the relationship between those uncovered sounds and moments of primary experience. In 2004 he was awarded an AHRB Postgraduate Award. In 2007 he was nominated for the Jerwood Artist platform Prize. His work has been featured on Resonance FM, and has work in several CD and Publication Releases. His has performed with artists such as Claus van Bebber, Espen Jensen, Helmut Lemke, Lee Patterson, and Jez Riley French, Rhodri Davies, Phil Durrant, Matt Davis, Hainer Woermann, Chris Heenan, Michael Vorfeld, and Sascha Demand. Since 2004 he has curated several experimental music and sound exhibitions including ‘re:sound’ 2005, UK, ‘Sculpting with Air’ Liverpool Biennial 2006 (co-curated with Lee Patterson), ‘then the silence increased’, 2007 UK (co-curated with Helmut Lemke). In 2008 he was Artist in Residence at Artist Unlimited, Bielefeld, DE. This CD contains music that was created using sounds ‘derived from prepared tape, related machinery and othe magnetic sourcing including posting, freezing and puncturing tape’. Mastering by Jos Smolders.
LP/CD Experimedia EXLP014
On Silver, multi-instrumentalist Charles-Eric Charrier directs his collaborators Ronan Benoit, and Cyril Secq, through a lesson in tension and release. Dismissing genre boundaries Silver deftly plants its roots on a plateau in a strange land somewhere between the worlds of psychedelic post-rock, electronic, improv jazz and modern composition. Over the course of five movements, Charrier and company illustrate how to successfully kaleidoscope an eclectic range of influences into a cohesive and unique whole. From the smokey sludged psych rock blues jam of “21 Echoes”, the jazz lounge pitter-pat of brushed snares and tapped hats coalesced with analog synth and brass vibrations on “12 From”, to the plucked and bowed folk strings and hand drums of “9 Moving”, Silver draws a new musical blueprint for the post-everything generation.
Charles-Eric Charrier, half of the duo MAN alongside Rasim Biyikli known most recently for their 2005 album Helping Hand on Sub Rosa, has recorded multiple albums, film scores, and collaborative projects with painters and choreographers. He also writes and records solo as Oldman, and has collaborated with numerous artists and musicians including Sid Toure (Thrill Jockey), Mathias Delplanque (Lena), Rob Mazurek, Jérôme Paressant (abraxas projekt), The Clogs, Orange Blossom, Rhys Chatham, Teamforest, The Floating Roots Orchestra, and Le Coq.
All songs by: Ronan Benoit, Charles-Eric Charrier, Cyril Secq
Directions in music by: Charles-Eric Charrier
Recorded & Mixed by: Cyril Secq
Produced by: Cyril Secq and Charles-Eric Charrier
Mastered by: Taylor Deupree
Photography & Design by: Jeremy Bible
2LP/CD Editions Mego eMEGO 114
Release date: February 11
all music by Ivan Pavlov/COH
written and recorded 2010
except WAR END WAR: written 1988/recorded 2010
electric guitars recorded may 2009 at the studios of Music Research Centre, Univ. of York, England with professional assistance and generous support from Tony Myatt, Pete, Oli and Theo.
acoustic pieces in RED SQUARE, WAR END WAR and SATSUGAII composed and recorded in the USSR between 1988-1990, extracted from a cassette tape with kind help of Andrej “D.A.O.” Kolesov
Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, November 29th, 2010.
It would be too easy to simply call IIRON the COH metal album, as it goes way beyond that. True, this album of classic Pavlov stompers contains more than its fair share of guitars both acoustic and electric, yet it still maintains that sense of power and purpose through electronic music which stands out as the COH ‘raison d’être’.
Coming 11 years after IRON, which also tackled the sound of rock with alarming results, the new album features not only recent guitar tracks recorded at Music Research Centre at York University, but also recordings made during Soviet era Russia, which refer to Pavlov’s underground music activities in the early 80-ies when making or even consuming of “metal music” was forbidden.
IIRON is a powerful, well executed electronic rock record, with just a dash a humour to keep it from becoming pompous, as so much of that kind of music can be sometimes.
Packaged in a 4 panel digipack for CD, and lavish gatefold for the vinyl, with stunning artwork by Stephen O’Malley.
HAIL TO WORLD PEACE AND DEATH TO FALSE METAL
Super Great Love
LP Editions Mego DeMEGO 018
Release date: March 1
Sigtryggur Berg Sigmarsson
Cover artwork by Helgi Thórsson
Recorded and mixed 2007 – 2010
Cut at Dubplates & Mastering, December 2010.
This album is dedicated to Franz Graf
Edition of 500
Evil madness has been described as the Traveling Wilburys of Icelandic electronic music. Behind the name stand men like Petur Eyvindsson, Johann Johannsson, Sigtryggur Berg Sigmarsson, Helgi Thorsson and BJ Nilsen (who is not “quite” Icelandic but was born in a country “very” near Iceland).
This album, “Super Great Love”, presented by Editions Mego will be their 4th album since the time their formation in 2006. Now for those of you reading who know the music of Evil Madness will know for sure that this band does what ever they damn well pleases when it comes to making the music. With “Super Great Love” they want to get people in the “good” mood for the fresh new year and present them with some upbeat Icelandic “Disko” tunes.
12″ Alku 103
Written by STEPHEN SHARP and ROC JIMENEZ DE CISNEROS, RAVE SLIME is a double blow of brutalist composition and raw electronic music. The 12″ revisits the classic hoover sound  in a Radical Computer Music  style, that moves it away from any kind of foreseeable dance floor. The hoover sound, popularized by many rave music productions since the early nineties, comes from a preset patch for the Roland Juno Alpha synthesizer called “What The?”, engineered by Eric Persing in 1986 after he became Chief Sound Designer for the Roland Corporation .
Although the two sides of RAVE SLIME stem from the same idea, they were composed using different methods: a digital synthesizer and custom-written generative software. True to the computer music for hooligans motto that has been behind the EVOL project since the late
nineties, the record approaches the iconic “What The?” sawtooth frenzy through various structural devices. Side A features orderly, ascending-descending note arrays to build a superposition of monolithic waves, while side AA (developed from an installation exploring multistability ) uses symmetry-breaking lattices that create a mesh of self-similar patterns.
 The original settings for Eric Persing’s “What The?” patch for the Roland Juno
Alpha 1/2/MK-S50 are as follows: DCO RNG = 32′; DCO LFO = 00; DCO ENV = 127; DCO ENV = D\; DCO AFT = 09; DCO BEND = 12; PULSE = 03; SAWTOOTH = 03; SUB = 05; SUB LEVL = 03; NOIS LEVL = 01; PW / PWM = 127; PWM RATE = 102; HPF FREQ = 02; VCF FREQ = 127; VCF RESO = 00; VCF ENV = 127; VCF ENV = I\-; VFF LFO = 114; VCF KEYD = 11; VCF AFTR = 15; VCA LEVL = 118; VCA ENV = I\-; VCA AFTR = 14; CHORUS = ON; CRS RATE = 92; LFO RATE = 46; LFO DELY = 64; ENV T1 = 00; ENV L1 = 68; ENV T2 = 44; ENV L2 = 127; ENV T3 = 41; ENV L3 = 127; ENV T4 = 00; ENV KEYB = 09.
 The term Radical Computer Music was coined by the Danish/Faroese musician/artist Parl Kristian Bjørn Vester, aka Goodiepal or Gæoudjiparl van den Dobbelsteen, whilst a teacher in composition at the Royal Academy of Music in Aarhus, Denmark, between 2004-2008. (From en.wikipedia.org/wiki/Radical_Computer_Music
 “When the Roland MSQ700 (the first MIDI sequencer) was introduced, no-one at Roland could figure out how to use it. Because of all the time we had at the store, we figured out a lot of weird tricks. Like if you played the parts from a Jupiter 6 and powered up the MSQ700 last in the MIDI chain, you could get a multitimbral, multitrack sequence playing. I know that doesn’t sound like a big deal now, but at the time it was pretty mind-blowing. So we put these awesome demos together with every instrument in the entire store MIDI’d together. Anyway, Roland started sending their employees down to our store to get trained on their own gear by us. Tom Beckman (then President of Roland US) came down to see what was going on, and I gave him the big demo and he dug it. He asked me to demo at the ’84 NAMM show and then I was in.” (Eric Persing interviewed by Kevin McDaniels on Sound On Sound). “This is so totally amazing to me! I made those original ‘Hoover’ factory sounds (like ‘What The?’) for the original Roland Alpha Juno back in 1986 as basically JOKE patches. (They made the Japanese guys laugh!). To see them turned into a cult with their own websites and serious hard house fans is beyond bizarre! You never know what will catch onŠ” (Persing on the unanticipated popularity of the “What The?” patch. www.kvraudio.com/forum/archive/instruments/2002-04/1914.php
 “Hands in the air, reach for the laser”, for 12-channel diffusion system. Diapason Gallery, New York, March 2010.
You Stand Uncertain
2LP/CD Planet Mu Records ZIQ286
Release date: March 14
When Falty DL released his 2009 debut on Planet Mu, “Love is a Liability”, it was notionally tied to dubstep, despite not sounding much like the sound at the time. A combination of irregular but still funky drums, bass and light musical surfaces, it stood out and was recognised for it’s distinctiveness – this was a native New Yorker interpreting his love of British dance music from a unique angle.
After spending 2010 honing his craft and working on singles for a bunch of different labels and remixes for the likes of The XX, Mount Kimbie and Anthony Shakir, Falty DL, born Drew Lustman, pulls his skills and experience together for this new LP; “You Stand Uncertain”.
Things have evolved a lot on “You Stand Uncertain”. >From the very beginning the listener is plunged into his new focus on layered dusty atmospheres. Opener “Gospel Of Opal (ft. Anneka)” is also his first work with a vocalist.
Although at times it’s anchored in the familiar basslines and rhythm science of uk dance, as heard in his previous material, on this album it’s clear that Drew has been soaking up some of his native city’s musical past such as disco, house and hip hop. With this in mind the album moves at different tempos, the ghosts of dance music past are evoked but never allowed to take over, giving the whole album a decayed, dreamy abstraction that allows for comparisons with the current crop of ‘chillwave’ producers, were it not for the tight drums and basslines. Check the way “The Pacifist” moves between passages of melody and waves of synth over distorted breaks, or “Open Space’s” use of slowed down rave euphoria and double speed 808 drums.
The crisp 2-step of “Brazil”, the first of two songs featuring UK-based singer Lily MacKenzie sweetens the atmosphere, followed by “Eight Eighteen Ten” which builds watery melodies over chopped up breaks. The album gets slower still with the steamy, bittersweet melodies of “It’s All Good”. The spaced out “You Stand Uncertain” marks a mid-point and a breathing space, before the album gears up with the ravey synths and jungle percussion of “Lucky Luciano”, the slow burning stripped down house of “Voyager” into the duo of abstract 2-step tracks “Tell Them Stories” and “Play with my Heart” before the tempo drops for the ultimate track “Waited Patiently (ft. Lily MacKenzie)” which combines her chopped vocals with jazzy piano keys and a punchy technoid melody.
KK NULL / Z’EV
Brombron 17: Extra Time, Extra Time
CD Korm Plastics KP 3038
Korm Plastics is proud to present the seventeenth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn’t have the time or the equipment to realize.
Since almost forty years z’ev belongs to the absolute fore front of experimental music. Playing percussive music he gained a lot of attention, but in more recent years he returned to working with electronic tape manipulation. One aspect is working with other people, such as Francisco Lopez or Kasper Toeplitz. In his collaboration with KK Null he plays electronic drums.
KK Null (born Kazuyuki Kishino in Tokyo) is a Japanese experimental multi-instrumentalist. He began as a guitarist, but soon added composer, singer, electronic musician and drummer to his list of talents, and also studied with the Butoh workshop. Null joined the noise/progressive rock band Ybo2 in 1984, issuing several albums and EPs throughout the remainder of the decade. Later he founded more bands, such as Absolute Null Punkt (aka ANP) and his most well known one, the self-described “progressive hardcore trio” Zeni Geva. From that point he also produced albums for other artists, created his own record label (Nux Organization), played live and collaborated on albums with many other musicians, including John Zorn, Yona-Kit, Steve Albini, Boredoms, Seiichi Yamamoto, Jim O’Rourke, Merzbow, Fred Frith, James Plotkin, Keiji Haino, Otomo Yoshihide, Jon Rose, Atau Tanaka, Zbigniew Karkowski, Z’EV, Alexei Borisov, Earth. Noisegate and Philip Samartzis, as well as supporting such artists as Sonic Youth and Mike Patton on tour.
CD Hyperfunction 003
“Markus Reuter’s Todmorden 513 is a complex work of algorithmic composition of an hour’s duration. Given Reuter’s linguistic background, one might think that the title is an exercise in existential dread in German as “Tod” means “death” and “morden” means “to murder” – forming a truly grim portmanteau.
However, the title’s sourcing is actually of a small town in northern England, northeast of Manchester. 513 refers to its construction: it is a continuous movement and sequence of five hundred and thirteen harmonies and triads generated by a combinatorial compositional technique of Reuter’s own design.
The notes of each harmony or triad is then fed back into the same algorithm, resulting in a progression of chords and note clusters of highly varied density, ranging from simple two note harmonies to dense twelve note chords spread across several octaves. Starting on an A flat, the sequences of pitches form a kind of melodic or thematic line throughout. The rhythms of the performing instrumental trios and quartets were derived from the chord sequences themselves, which were looped across the whole piece, mapped to the notes of each chord, then mixed together.
From there it was split into three or four independent voices respectively. The result is a shifting set of harmonic densities — at times quite spare — ranging from a harmony of two instruments to other moments of thick and lush instrumentation.” – Henry Warwick
Personnel: Markus Reuter, Tobias Reber, Philipp Quaet-Faslem, Karina Bellmann, Uta Maria Lempert, Wiebke Tschöpe, Juliane Gilbert, Ulrich Pollmann, Frieder Zimmermann, Robert Rich
NATALIE BERIDZE / TBA
CD/DL Monika Enterprise 72
Release date: March 4
Georgian musician Natalie Beridze aka TBA first came to monika through her contribution to Volume 1 of the popular 4 Women No Cry series. Now we are delighted to be working with this exciting young artist again especially as the CD marks the first release with our new distribution partner, Morr Music. Following a 5 track EP in summer we are proud to present Natalie Beridze’s stunning new full-length album, Forgetfulness.
While these are her first solo releases on monika, Tusia Beridze is certainly no newcomer. With output on labels such as Max Ernst, her ongoing collaboration with the Goslab collective and most recently a release on Laboratory Instinct, TBA’s sound is both rich in texture and depth of vision. From the industrial beats of What about things like bullets to the club friendly electro-ambience of “The Face We Choose To Miss” and the intricate electronica of “This isn’t right, this isn’t even wrong”, the cutting edge production gains warmth and a personal touch throughout from the presence of TBA’s voice. As well as Natalie’s phenomenal solo compositions Forgetfulness contains a collaboration with Academy Award winning Japanese muscian, composer and pianist RYUICHI SAKAMOTO, the meditative “Blue Shadow”. The album invokes harsh winter wastelands and a depth of emotion that is sadly lacking in much of the pop we hear. Two prime examples are “In The White” and “Silently” – which are nothing short of breathtaking. This fine album ends with the cryptically titled “Half This Game Is Ninety Percent Mental” an epic instrumental ambient odyssey.
Natalie Beridze’s music is captivating and yet at the same time leaves enough room to let the listeners’ imagination run off in its own direction. Forgetfulness is a journey through serious electronic soundscapes but thanks to the contant presence of her sensitive lyrics and gentle vocal tones Beridze never looses that personal touch.
CD/DL Everest Records er_cd_044
All tracks by Rotterdam
Susanne Amann: Flute, cello, electronics
Michael Klauser: Acoustic guitar, electronics
Recorded and mixed by Kassian Troyer
Mastered by Stefan Betke
Cambodia is the title of the debut album of the Viennese duo rotterdam and is the result of a ten-year-long experimental process. Far away from any conventions or traditional song arrangements, SUSANNE AMANN (cello, flute, electronics) and MICHAEL KLAUSER (acoustic guitar, electronics) create constantly pulsating sound patterns that draw their power from the continuous compression of sound elements. Their experimental and avantgardist tracks, mastered by the Berliner Stefan Betke (Scape) and Kassian Troyer, are reduced to the essential: minimalist beats and repetitive loops combine with samples and acoustics, merging into instrumental sound paintings of an extremely hypnotic, even danceable effect. Rotterdam celebrates the power of monotony, which has rarely before sounded so varied.
Sometimes Like This I Talk
CD Radon 2010
Release date: March 25
The pioneering saxman from such diverse projects as The Stooges, Violent Femmes, Snakefinger, Commander Cody, and The Radon Ensemble unleashes his third solo album. This collection of songs, captured in 5 countries and with a cast of 30 conspirators, represents the most comprehensive collection of Steve Mackay’s composed works.
For the last decade, Mackay has relentlessly criss-crossed the States, Europe and the world, bringing his unique musical vision to stage. His projects have included joining forces with jazz-core unit Zu, fronting his own band The Radon Ensemble, uniting with his first crew Carnal Kitchen and bar band Third Thursday, collaborating with underground luminaries like Dirt Bombs, Ovo, Smegma, Laundryroom Squelchers, Amps For Christ and Mike Watt, and sharing the spotlight with Rock ‘n’ Roll Hall of Fame inductees Iggy and The Stooges.
Sometimes Like This I Talk is a voyage that brings you to the forefront of Mackay’s musical history and invites a multitude of his primary backing musicians along for the ride.
This latest offering from Steve Mackay, a compelling musical figure, welcomes a new era for a far too often neglected instrument: the saxophone.
CD/DL Oomff 1001
A one man analogue orchestra producing a soundtrack that needs no film
What’s that? It’s the noise of 16 tireless months in the studio. It’s like listening to three decades in the music industry.
It’s also the sound of homemade, hand-welded percussion instruments, without an audible drum. Impressive then, that it’s one man and his Mac in Northampton, UK, with two great ears.
His debut long-player, 16:9, is a soundtrack to the greatest of epics- seamless seconds of breathtaking aural vision. Fleeting sonic supernovas that inspire emotion and command attention, while blending beautifully into the natural world of the listener. Think the exploratory moments of Vangelis’ Bladerunner score, here rooted in the instrumentalism so vital to the early 21st Century, and its broad definition of ‘popular music’.
Bird songs can be heard, punctuating an almost visible landscape, such is the tangible depth to these compositions. Pianos fall gently into background space, as strings, synths and a host of other, often unexpected musical tools combine to create a tragic, heroic and captivating movie in the mind. A road trip on a mass scale, the sombre closing credits of Cherry Blossom Falls offer up Vienna in violin arrangements, while Kaiyu-Shiki transports you to the eponymous Japanese garden, via a thousand crystalised chimes.
Darker moments abound in Memories Lost
, as decomposing tape creates a feeling of faded photography and silent, battle-scorched earth. Meanwhile, The Fire Within
recounts a town springing into life on a dark winter’s morning, as ambient noise becomes hook and then melody. It might seem lazy to reel off disconnected, imagined instances. But then few films have been this vivid in the landscapes and atmospheres they create.
Stuart Sweeney has spent countless hours exploring the English countryside surrounding his home and the sounds to be found, and more importantly recorded, therein. But, far from abstract, all 12 tracks offer something reminiscent of Yann Tiersen’s cinematic power, blended with the electronic-experimentation of The Heritage Orchestra. And there’s something wholly new too. Far from field music, this is a sublime one-man symphony.
And that’s just what makes this release so inspired. Part contemporary classical, part sound art, all compelling. There’s no tunes here, just stories being told, moments getting captured and emotions laid bare. All the while remaining under the control of a technically disciplined musical aficionado. Hear the tracklist individually, or hear it all as one. Either way, from beginning to end, while under Sweeney’s spell, you won’t be doing much else.
“I get a feel of Arvo Pärt’s spiritual minimalism and touches of Glass, lovely work.”
Daniel Cullen -Award winning composer- Striking Media Music
“Vast cinemascapes abound, Sweeney’s deftly produced compositions straddle contemporary classical and electronica with maturity and an enviable attention to detail.”
The Kenya Sessions
CD Pingipung 20
Release date: February 21
Pingipung presents The Kenya Sessions – an enchanting cooperative mission featuring Sven Kacirek, our experimental drummer and electronic producer, and musicians from Kenya.
The Kenya Sessions is Pingipung’s second album by Sven Kacirek. It is the result of an extended visit to the country with live and fieldrec sessions which he later processed in his studio in Hamburg. Sven Kacirek plays with local Kenyan stars such as 80 year-old female vocalist Ogoya Nengo, or with Okumo Korengo, who delivers amazing patterns with his Nyatiti, a traditional string instrument. The visit was supported by the Goethe-Institut Nairobi.
It’s sometimes difficult to tell the parts recorded in Kenya from those overdubbed by Sven Kacirek himself. His own compilation of Marimba, Bassdrums and brush patterns forms a musical thread that he weaves skillfully into the live sessions. At times joyfully straight (“Arsenal Aluny Vilage”) at times mellow and melancholy (“Mariae”, “Paperflowers”).
Sven Kacirek and some of the Kenyan musicians will bring this fantastic material to international stages in the coming winter starting with 3 concerts at the Ese Festival in New York City in December.
The Linernotes by Goetz Steeger illustrate in detail the creative recording process of this record.
Sven Kacirek has a background as virtuoso jazz drummer. He studied at Drummer’s Collective in New York, played several Solo-Shows at the World Drum Festival and has written books on the experimental use of electronics on the drumset. On his solo debut The Palmin Sessions (Pingipung11 2007) he presented his original ambient aesthetics made from silent patterns recorded on paper, wood, or glass surfaces: “Sven’s frantic drumming is really a pure pleasure to listen to … his instruments join together in a deeply meditative study” (Foxy Digitalis)
Arte Tracks will feature a TV documentation on the project in February/March 2011.
12″ EP/DL Zoikmusic/Musik aus Strom ZM04/MAS19.02
Release date: February 2011
Taprikk Sweezee’s verspulter Gesangssound aus mehrstimmigen Soulbombast und Loop Pitches kollidiert auf der Poly EP gleich dreifach mit den wuchtigen Beats von E.A.R.L , HBO und BUSY. Die Kollaboration mit den in Frankreich, USA und Holland arbeitenden Soundbastlern strotzt vor Energie und Spielfreude.
‘Newend’ ist ein dampfender Hexenkessel kurz vorm überlaufen, der zu den giganto-magnetischen Beats von E.A.R.L unaufhörlich Melodie- und Soundsplitter speit.
‘Volt’, betäubt mit brutal berstenden Beats des Franzosen HBO und Sweezee’s peitschenden Vocals, während ‘Eating at the void’ ein nahezu melancholischen Ton anschlägt. Die Klackernden Beat-strukturen von Bradford Johnson aka ‘BUSY’ und die Vocalarrangements
wirken wie ein düsterer Zauber.
Mit euphorischer Schwerelosigkeit schraubt sich der Bonus Track ‘Mercury’ in die Tiefe, dessen gepitchte Vocalssample-Flächen über Sweezee’s schweren polyrhythmsichen Beats durch eine neblig pulsierende Klanggalaxis wabern. Ein quecksilbriges Narkotikum von betäubender Schönheit.
“Taprikk Sweezee’s Catchy Hooks und sein klarer warmer Gesang bringen kühl-knistrige Rauschträume zun leuchten – Begeisterung.” (De:Bug)
“Taprikk Sweezee eröffnet im Neo-Soul, HipHop eine neue Sparte, die für die Zukunft noch mehr verspricht.” (Raveline)
UNITED SCUM SOUNDCLASH (U.S.S.v2)
CD Soopa 2010
Release date: March 25
United Scum Soundclash was spawned in a depraved conjunction of Portuguese/American ingenuity by JONATHAN SALDANHA and SCOTT NYDEGGER in 2004. Their recorded works represent a previously unexplored musical realm, where genres clash and inventive production techniques have allowed rock, free jazz, electronics, eastern traditional, and experimental noise to play together on harmonious musical ground.
Machine Gun takes a cinematic approach to sound. The tracks delve into dark matters such as guns, war and the breakdown of society. The featured players come from an array of musical backgrounds with members of The Stooges, Barbez, Ovo, Soopa, Hallux, the Radon and Hop Frog collectives, and Love 666, laying waste to conventional notions of sound.
With this second volume, U.S.S. paves new roads towards the creation of a musical form devoid of any pretext, reveling in style-bending encounters of creative oddity.
After the release of Machine Gun and its lead-off single, “Sevad Kooh”, The Scum will continue to give concert performances and The Saldanha/Nydegger team return to “The Bunker” to prepare the next phase in this auditory metamorphosis.
14 Tracks from Planet Mu
CD Planet Mu ZIQ295
Release date: January 31
To mark the start of 2011 Planet Mu release a compilation showcasing their current crop of artists. Featuring 4 exclusives, ’14 Tracks From Planet Mu’ reveals the depth and quality of their recent releases. Here is a bit about each artist:
Oriol is first up with the exclusive ‘Solar’ a beautiful shimmering track with many layered vocals. He released his album ‘Night and Day’ in the summer of 2010 to great praise. The timing was right and the album perfectly reflects Oriol’s musical background as a trained musician whose musicality was refreshed by the dance music he grew up with and with its summery mood it was a very timely release.
A duo from Ireland, Solar Bears released their debut album ‘She was Coloured in’ in late 2010. It was a chilled affair, combining prog-like, melodic instrumentation with warm analogue synths to create an album that straddled comparisons with the best of the modern cosmic disco scene and Boards of Canada simultaneously, garnering alot of attention from the hip press. Here they give us the exclusive ‘To Be With Her’.
Floating Points is Sam Shepherd – creator of shimmering, soulful takes on house and techno, who released this, his first single on Planet Mu in 2009.
Tropics is a new artist on Planet Mu who released his first single in late 2010, and is currently working on his debut album. His music is airy, slo-motion house music, a kind of paired down, electronic take on cosmic disco and dream pop, i.e. it’s utterly dreamy and beautiful.
The Internal Tulips is a project from Brad Laner and Alex Graham, two Planet Mu veterans who worked on their slowburning ‘mislead into a field…’ album, where the worlds of late period Beatles and Dennis Wilson’s ‘Pacific Ocean Blue’ pop met delicate digital reconstruction, resulting in an album that was recognisable as pop music but with a strange disorientating modern twist.
Boxcutter is Barry Lynn’s longterm project. He’s released three popular albums on Planet Mu and his innovative, off-kilter music mixes live instruments and electronics in a way that predates the notion of ‘post dubstep’. ‘Ufonik’ featuring vocals from Brian Greene is an exclusive preview from his forthcoming 2011 album.
Kuedo is Jamie Teasdale, who was one half of dubstep pioneers Vex’d. His new productions are a masterclass in melting dubstep and hip hop down and manipulating something new from the strange goo that’s left behind. His productions have been idiosyncratic and daring, pushing dance floors in interesting directions.
Topaz by Ceephax Acid Crew neatly summarises two of Ceephax’s greatest strengths. His ability to write complex melodies with the analogue synths he uses to make his music with and combine that with a natural freshness and attitude that counteracts any overwrought retroisms.
Slugabed remixes Starkey and Anneka’s delicate ‘Stars’ track here in his own inimitable style, dicing the original into strange shapes and rubbing it into the dirt, ending up with a multicoloured splatterfest that’s like a rollercoaster for your ears.
Falty DL’s music has been developing in his New York based musical laboratory over two albums on Planet Mu . His music is indebted to Hip hop and also dubstep’s bass and rhythms, but retains at its core, a glossy New York house feel, illustrated perfectly in this track.
Rossi B and Luca are long time djs and producers who’ve always crossed genres both in their DJ sets and also their productions, and the heavy ‘E10 Riddim’ shows them melding martial, Funky house-like drums with hard grimey chord stabs, to make one of the most dramatic tracks of 2010.
Swindle is one of a growing group of new producers committed to evolving Grime instrumentals, and Airmiles was an anthem for the new breed in 2010. On ‘Airmiles’ he mixes grime’s tough riddims with an undeniable energy and good humour.
By now anyone with an interest in dance music should know about Ikonika. Her album on Hyperdub in 2010 was one of the finest dance music albums of the year, and her singles have been amazing. This track mixes powerful, nostalgic melodies with hard kicks and clap and pummelling bass.
Rudi Zygaldo’s album ‘Great Western Laymen’ came out in the first half of 2010, a few months before a number of less interesting post dubstep auteurs with vocals started to appear on the scene, but this new and exclusive track shows off his psychedelic, dubstep inflected puzzle-pop off at it’s best.
A Tasty Swarm of Small Signals
DVD Störung str008
Packaging: DVD case (audio at 24bits/48Khz)
Time: DVD (audio) 182 min
Tracks: 91 = 13 tracks x 7 artists
Curated by: Francisco López
Authoring by: Álex Gámez
Supported by: Centro Puertas de Castilla
This audio DVD is a collaboration between “Puertas de Castilla” and the Barcelona-based audiovisual platform Störung. It contains ninety-one micro-compositions, from seven different artists from every corner of the globe, each of whom created thirteen 2-minute original pieces especially commissioned for this project.
It is both our hope and our firm commitment for this work to mark the beginning of a number of future projects, so the sound archive finds its proper place as a paramount referent for sound art, both in Spain and at an international level.
A Tasty Swarm of Small Signals is an impressive sound art project comprising 91 micro-compositions by sound artists from every corner of the globe. This wide range collection has been curated by Francisco López and includes original work of JAMES WEBB, LAWRENCE ENGLISH, FRANCISCO LOPEZ, ASMUS TIETCHENS, LOUIS DUFORT, ALAN COURTIS and ZBIGNIEW KARKOWSKI.
Working with field recordings, sound manipulation, and generated sounds, these internationally acclaimed artists offer us the possibility of listening and experiencing some of the most enticing proposals, tendencies, approaches and investigations in this field of art.
James Webb opens the collection with “Sightings into the dreams of others”. His pieces share a dreamy atmosphere, an oneiric quality, both beautiful and strange. With a delicate, poetic touch Webb introduces several sounds like bird chipping, piano notes and morse code signalling, creating an elegant whole that has the effect of drawing our attention out of the work itself, back into our own sound environment, and finally integrating both.
As in Webb’s work, the next artist of the collection, Lawrence English, requires the imagination of the listener to complete the pieces here presented. Through an artful integration of field recordings and synthetic sounds, English creates suggestive and beautiful compositions which wake up our imagination and make us see that we are always part of the work itself, in the same way as we are part of the world we look at. The world is not just a set of objects around us and the compositions are not just a set of sounds.
We relate to each object, to each sound, with our personal emotions and memories. The world which we live in, as English’s compositions, is always a unique experience, a personal creation. While Lawrence English is able to integrate field recordings and created sounds in an extraordinary way, Francisco López goes further and blurs any distinction between these different sounds. By an artful manipulation of the field recordings the artist makes the natural sounds no longer identifiable, and as a result they move away of any reference or visual association. In his proposal López directs our attention to the sounds themselves, and lets them follow their own path, their own development into other sounds and variations.
Similarly Asmus Tietchens also focuses on the manipulation of field recordings in ways suggested by the sounds themselves. His artful employment of silence and isolated sounds, (small signals), is complemented by an increasingly obscure atmosphere, conforming a subtle composition. Short bubble like percussive sounds hit repeatedly on a persistent silence, than soon evolves into a dark ambience. No rhythms, no sequence, no pattern, no thought. Just unidentifiable sounds, dropping from nowhere on top a black background, a cosmic silence, a universal darkness.
Louis Dufort proposal deals with the inner structure of sound matter. He places sounds under his unique microscope to show us the different frequencies, reflections and elements each sound contains. This approach is able to focus all our attention on the sounds themselves, instead of being treated as elements of a structure that encompasses them and gives them a specific meaning obtained from their place in the structure.
In Alan’s Courtis pieces, in contrast to Asmus Tietchens proposal for this collection, there is no silence, but a succession of disquieting sounds and distortions, and a constant feeling that we are reaching some kind of limit, something is about to break through. Waves of sound take over, fill all space and ourselves, and carry us through a labyrinth of sounds and variations where we seem to disappear and where only sounds remain.
Karkowski’s proposal is an investigation in the vibration of electronic sounds and takes us to an experience of this ever lasting reality. Everything is a vibration taking place in time. Our first exposure to these pieces can be confounding, but if we get past our tendency to look for rhythm and harmony, an experience of sound can get through, showing us the ever present vibrations surrounding us, inside of us, everywhere.
All these proposals are presented in an audio DVD, where each artist presents thirteen two minute compositions over a fixed image, adding to more than three hours of sound. It offers us a taste of the most interesting proposals in experimental sound art, and of the most compelling experiences that this art form can bring us to.
Text by S. Porrúa
Historical Recordings Volume 1
12″ LP Gagarin GR 2013
With almost universal access to the internet and the rise of the online archive it may appear that the entire history of recorded sound is only a few mouse clicks away. However, the 2008 discovery in a Paris archive of a phonautograph recording of Au Clair de Lune from 1860 demonstrated that fragile treasures remain to be discovered by the dedicated explorer.
Musician, composer and radio producer Felix Kubin has spent the last 5 years investigating, tracking down and collecting a stunning selection of hitherto neglected recordings from archives and private collections. With an eye for the antique curiosity, and an ear for the curious dusty beauty of abandoned transmissions from the past, he is now proud to present this first collection of historical recordings.
The recordings presented here offer many and diverse pleasures from the analogue realm. Amongst the jewels offered are chronicles of eccentric machines, alleged occult occurences on telephone exchanges, drunken whalers, marine plankton, music hall entertainers, Nazi attempts to play proto-synthesizers, uncategorisable oddities, and lost documents by originators of the avant-garde.
This deluxe vinyl only edition is presented in lavish packaging including a booklet which contains an essay by Felix Kubin, extensive notes on each track and illustrations.
17.01 DE Berlin, Berghain
24.02. Wetzlar, Kulturzentrum Franzis
25.02. Karlsruhe, Alte Hackerei
26.02. Jena, Rosenkeller
08.04.2011 DE Bielefeld
09.04.2011 DE Leipzig
10.04.2011 DE Schorndorf
11.04.2011 DE Munich
12.04.2011 CZ Prague
13.04.2011 DE Berlin
14.04.2011 DE Hamburg
15.04.2011 DE Hannover
16.04.2011 DE Munster
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