@C – Homem Fantasma DL Crónica
BILL GOULD & JARED BLUM – The Talking Book CD Koolarrow
BJ NILSEN & STILLUPPSTEYPA – Big Shadow Montana LP Helen Scarsdale
BRUCE GILBERT – The Shivering Man CD Editions Mego
BRUCE GILBERT – This Way with The Shivering Man 2LP Editions Mego
CHRISSY MURDERBOT – Women’s Studies 2LP/CD Planet Mu
CM VON HAUSSWOLFF – 800 000 Seconds in Harar CD Touch
FRIEDER BUTZMANN – Wie Zeit Vergeht LP PAN
GAGARIN – 3KA-3 / KEDR DL Single Geo
GAGARIN – Biophilia CD Geo
LAWRENCE ENGLISH + STEPHEN VITIELLO – Acute Inbetweens CD Crónica
MARK MCGUIRE – A Young Persons Guide 2CD Editions Mego
MATHON – Terrestre LP+DVD Everest
MAX GOLDT – L’Eglise des Crocodiles LP Gagarin
RETINA.IT – Randomicon CD FlatMate
RUSSELL HASWELL – IN IT 5.1 DVD + UHJ LP Editions Mego
SERPH – Heartstrings CD Noble
TECHNICAL DRAWINGS – The Ruined Map LP Gagarin
VALERIO TRICOLI / THOMAS ANKERSMIT – Forma II CD PAN
DL Crónica 056
“Homem Fantasma” presents three new compositions that steer @c’s work into new domains of audial exploration.
@c’s music is about complexity, dispersal, multiplicity and active listening. It’s about the complexity of what is in the music, what is not, and what may be filled in by the listener’s brain. Dispersal and multiplicity walk hand in hand in these pieces, created by a (sometimes staggering but never overtly evident) layering effect, through the composition of rich and complex soundscapes that challenge the listener to focus on single threads while inevitably reserving parallel sequences to be discovered on later hearings. Multiple viewpoints enrich the compositions with the struggle and balance between (dis)concordant strains of sound that create multiple perspectives, varied departure and landing points for a listening experience that is never facilitated and nothing short of challenging.
The length of the compositions is dilated, to allow the listener to re-enter the same piece
consecutively, developing multiple and varied listening experiences during its running time. False-starts or pauses are used as markers for this traversal, dragging one out of the continuum just to plunge back into it.
@c’s music is constructed. After the initial sound building, the exploratory work from which the basic elements are created, they proceed to a layering stage, where sounds are arranged in order to build the unified whole. This music is not hermetic or gratuitously difficult, much on the contrary. As complex as these constructions may be, and as far as they may stand from easily categorizable format or straightforward descriptions, they are able to generate immediate and strong aesthetic reactions, leaving strong and lasting impressions on listeners. But they do demand attention, interpretation and scrutiny of the nuances and details of the pieces.
The three compositions in “Homem Fantasma” were created during a period of almost two years. They were slowly chiseled and refined, they integrated bits and pieces of chance encounters, mishaps, dérives, and contaminations, emerging from the meeting of multiple forces, semantic contexts and actions. Field recordings and found sounds, a very important part of the sound palette, bring with them recognizable (although vaguely alien) timbres and textures, but @c’s music is also built from segments of live recordings and studio recordings, processes and experiences that are collated in the compositions.
Besides being an homage of sorts, the title of this release originates from the ghostliness of
computational music and the immateriality of the musician’s role in its creation and performance, their simultaneous presence, immanence, and absence from the music. This is @c’s first release in Crónica’s Unlimited series of freely downloadable editions.
Composed by Miguel Carvalhais & Pedro Tudela in Porto, 2009-2010, except 78b with Pierre-Alexandre Tremblay in 2010. Recordings made from 2005 to 2010 in Barcelona, Düsseldorf, Madrid, Mindelo, Nashville, Perugia, Porto, Rebelva, &c.
BILL GOULD & JARED BLUM
The Talking Book
CD Koolarrow Records 27
Release date: April 29
Reclaimed from a graveyard of vinyl, The Talking Book is a collection of oxidized aural snapshots buried between the gloom and the gorgeous. Formed by Bill Gould, best known as a founding member of the group FAITH NO MORE, and conceptual sound artist Jared Blum, best known for his abstract pop under the moniker Blanketship, and other releases on his lo-fi musique concrète label Gigante Sound. The Talking Book is the first installment in a series of like-minded recordings on Gould’s Koolarrow Record Label.
The Talking Book is a record of visuals. The chapters written are aural descriptors of a people and place left behind; beautiful memories and yet, due to time, corrupted like a faded photo, scenic beauty in a state of decomposition. The exploration of both structured musics and non harmonic sound allows the music to be informed and diverse. Deep and sullen Piano notes tinkle while warbled guitar tapes appear in the cracks. Lush drones collect and fold onto each other into a haze of harmony as deep bass pulses drive through the heart of it all. Melodies and blissful awakenings appear in the form of acoustic guitar, organ and voice.
BJ NILSEN & STILLUPPSTEYPA
Big Shadow Montana
LP/DL The Helen Scarsdale Agency HMS 020
Release Date: April 26
After producing their frozen trilogy of intoxicated dronemuzik for the Agency, these Scandinavian gentlemen have ventured into more absurdist territories through fictionalized soundtracks for imagined Mondo films and science fiction serials. It is in this context that BJ Nilsen & Stilluppsteypa present the apparitional Big Shadow Montana, an album of slow-motion delirium manifested in occluded smears, nocturnal gasps, and arcane tones from a variety of analogue synthesizers. Amidst the near constant wash of bleary-eyed etherialism, Big Shadow Montana cycles through several sonic themes and leitmotifs, displayed in varying states of clarity. In these transitions between half-remembered phrases and bleary-eyed thrumming, the album emerges as if it were the aftermath from a protracted bout of metaphysical channel surfing. Flickered impressions flash in conjunction with Breton’s manifesto of Surrealism in the form of the memories from happily drunk escapades in the heart of winter, the sidereal spells cast by the innerspace travelers Klaus Schulze and Coil, and the nagging questions of existential portent: “Was that bassline from Goblin, or was it German Oak? Maybe something from Faust IV?”
The trio of Nilsen, Sigmarsson, and Thorsson elegantly twist and bend these fleeting images into a spiraling symphony of bubbling electronics and spectral drones that mutate on both sides of the record into lugubrious yet carnivalesque waltzes. When this first appears, it is the echoing undercarriage of a simple melody, bobbing amidst rattling chains and cascading cymbal crashes only to dissolve into sequences of cold-war era tone beacons and empathic swaths of maudlin sound design. At the second occurrence, the melody washes ashore on the Iceland beach, where nude Viking men and women try in vain to get a tan when the sun is just barely going to rise above the horizon in the winter months. It is a pyrrhic jubilation of calliope harmonies set down by organs and synths turning a pale-blue hue in the wake of all that white skin shivering underneath the arctic sky.
A hauntological album? Quite certainly. And yes, the vinyl does come with a download code.
The Shivering Man
CD Editions Mego eMEGO 108
Release date: May 9
The Shivering Man
Net In The Feather
Eline Cout II
Epitaph For Henran Brenlar
The Shivering Man (video)*
All titles Bruce Gilbert except Eline Cout II: Gilbert/Conway
and Epitaph for Henran Brenlar: Gilbert/Lewis
Engineered by John Fryer. Recorded @ Blackwing Studios
Remastered by Russell Haswell @ Haswell Studio, Suffolk
New artwork by Dave Coppenhall
* Dance-work conceived & choreographed by Angela Conway
Performed by Michael Clark, Julie Hood & Ian Longmuir
First broadcast by Channel 4 TV – Alter Image : Series 2 on 5th May 1987
The Shivering Man, originally released in 1986 on Mute (STUMM 39), was Bruce Gilbert’s second solo album. Following on from his 1984 masterpiece This Way (recently reissued as eMEGO 102), it further explores Gilbert’s investigations into the grey border where abstract noise and rhythm co-exist with obscure melodies and song structures. The sound is further expanded with guest vocal appearances by Angela Conway and fellow Wire traveller Graham Lewis. This is also the Þrst time the complete album is available domestically on CD.
Previous CD issues were the This Way to The Shivering Man on Mute (with U Mu U missing), and the Japan only 3 CD box with This Way, Shivering Man and Insiding previously released by Alfa Recordings. This 25th Anniversary reissue is remastered by Russell Haswell and contains a re-work by Dave Coppenhall on Angela Conway’s original artwork. As a bonus a short Angela Conway video featuring Michael Clark originally broadcast in 1987 on Channel 4, has been included.
This Way with The Shivering Man
2LP Editions Mego eMEGO 1028V
Release date: May 9
Work for Do You Me? I Did [1 & 2] / Swamp (20:09)
Work for Do You Me? I Did  / Swamp (10:18)
Here Visit (5:53)
U Mu U (3:12)
Angel Food (10:43)
The Shivering Man (5:34)
Net In The Feather (5:51)
There Are (6:14)
Eline Cout II (4:46)
Epitaph For Henran Brenlar (5:08)
All titles Bruce Gilbert except Eline Cout II: Gilbert/Conway
and Epitaph for Henran Brenlar: Gilbert/Lewis
Engineered by John Fryer. Recorded @ Blackwing Studios
Remastered by Russell Haswell @ Haswell Studio, Suffolk
Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 7th 2011
New artwork by Dave Coppenhall
Edition of 500
Special gatefold vinyl edition collecting Bruce Gilberts classic solo albums from 1984 and 1986.
2LP/CD Planet Mu Records ZIQ294
Release date: May 9
Chrissy Murderbot’s first album for Planet Mu is a collection of tracks that should come with the warning “be prepared to sweat”.
The last few years have seen Chrissy working hard on the optimum formula for getting down and having non-stop fun. ‘Women’s Studies’ is an album of party starting, populist mutations with vocal contributions from the Dancehall mcees MC ZULU, Rubi Dan and Warrior Queen, plus rappers Popeye, Coool Dundee and Johnny Moog. It’s made with a brazen and unashamed love for dance music, mixing energetic tropes into a sticky tropical punch.
The influence of Ghetto House and Juke from his chosen home of Chicago hangs over the album. From the off, things get fleet-footed on ‘Break You Off’ with it’s night-time atmosphere built from Rhodes chord progressions and sexy vocals over tight, subtle rolling footwork drums and bass; it’s like a 160bpm musical massage. Later on ‘Bussin Down’ continues the footwork influence with a sped-up grooving funk sample, over which DJ Spinn gives the orders. Elsewhere ‘Heavy Butt’s’ seesawing bassline and 8-bit melody gets the message across loud and clear, while the impressionist footwork of ‘Jiggle’ is probably the most jiggling piece of music ever recorded.
Other tracks such as ‘New Juke Swing’ mix crunchy drums of the kind you might find on a Teddy Riley production with a bassline of an early grime record while Rubi Dan acts as master of ceremoniesŠ ‘The Vibe Is So Right’, featuring MC ZULU, pits chopped breakbeats against big basslines at funky house speed, which quickly intensify into sharp junglist patterns. On ‘Bump Uglies’ Chrissy mixes cute girl vocals chopped up over a flat dancehall beat while MC Popeye rides the rhythm making his intentions clear, while the album’s poppiest moment ‘Sweet Thang’ features Coool Dundee and Johnny Moog in an inspired high speed mix of jungle and electro with soul vocals and mcing.
Things get decidedly early 90’s with Warrior Queen on ‘Under Dress’ a strange amalgam of acid and (more) New Jack Swing, with Warrior Queen dropping some filthy lyrics. The 90’s revival continues with the ‘U Got Me Burnin Up (Club Cirque)’ which mixes high speed ravey piano and diva samples with crackin 160bpm juke and hip house vocals from Coool Dundee.
On ‘Women’s Studies’ Murderbot manages to twist underground music forms into a new kind of high quality pop music that’s a joy to listen to.
CM VON HAUSSWOLFF
800 000 Seconds in Harar
CD Touch TO:82
CM von Hausswolff says: “I was approached by my old friend and Radium 226.05 colleague Ulrich Hillebrand, now director of Angered Theatre in Göteborg. He informed me that there was a new play in the process of being written by author and theorist Michael Azar called “Jag är en annan” (I is another) stemming form the famous letter written by Arthur Rimbaud in his youth. The play uses Rimbaud’s life from being a young poet in Charleville ending with him being the trader in Harar, Ethiopia. Hillebrand asked me if I was willing to compose the music to this play. I accepted. I told Hillebrand that I needed to use material that had something to do with Rimbaud’s life and as he had connections in Ethiopia and in the small city of Harar he said: why don’t you go to Harar for 10 days and see what you can find?
So I went to Addis Ababa where a guy was waiting for me and drove me the 10 hours beautiful ride to Harar. I made recordings and looked for other useful material.
There are 2 tracks. On the first track, which consists of three “parts” I have used material from Harar. The long dronic sounds are taken form an instrument that I, after searching for days, bought in Harar – it’s called a “krar” and is a string instruments (it’s quite clear that I have used a string instrument- also if you study Ethiopian music you came across the name of Saint Yared and he was the first to construct a notation system for music… much earlier than the Europeans). As I could not really master the actual playing of this instrument, I bought a bow for a violin and some rosin and with this I got one good tone out from this krar. Then the computer helped me to sort the modes and pitches out. On this piece there also two location recordings: the first one you hear is a recording I did outside Harar on a hill where there are next to no car sounds or other machine sounds – just the wind, insects, some kids and that (I wanted this recording to be more or less timeless or at least 19th century and forward… The second location recording was done in the night in my hotel, where I woke up one night and became fascinated by the leaking taps in my bathroom so I decided to records this.
On the second there are only oscillators used … several of them … AND using one low pitch oscillator I ran a sound filtered through. This sound is the low “rhythm” you can hear, and it’s a low pitched morse code signal… and the text is the famous poem Rimbaud wrote in his youth called Le Dormeur Du Val (The Sleeper in the Valley). This poem is a beautiful text starting off in the nature, where a person is sleeping in the grass. Slowly Rimbaud zooms in and we read that it’s a soldier and at the very end we are told he has two red wounds on his chest – the guy is dead! .”
Arthur Rimbaud lived in Harar from 1884 until shortly before his death in 1891.
This is Carl Michael von Hausswolff’s first album for Touch, but the connection goes back many years, of course. Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light and sound installations and photography.
Wie Zeit Vergeht
LP PAN 14
Berlin’s berserk Frieder Butzmann composes an uninterrupted stream of timbre changing and alternating sounds. Taking influence from aspects of Karlheinz Stockhausen’s work, albeit certainly far from Serielle Komposition methods, using an entirely different array of equipment and caring less for technical finesse, a raw and sometimes absurd quality emerges. In spite of the dramatic character of the compositions, Butzmann works with the same joy and intuition of when he first heard them almost 40 years ago. Manipulating analogue sounds culled from old electronic recordings that he made at STEIM in Amsterdam back in 1995 (using the infamous ‘Black Box’ modular system), a dadaistic influence shines through in the semi-naive use of electronics, vocals and undefined sound sources – the basic idea is always more important than the perfect realization. The lyrics are excerpts of articles … wie die Zeit vergeht …, Telemusik and Kurzwellen by Stockhausen plus re-writings of lyrics used in the first section of the composer’s concrete and electronic composition Hymnen.
Frieder Butzmann is a veteran German composer, radio play author and performance artist. He has been playing overt eccentricity for quite some time (since the end of the 60s), though he would find his true metier during the NDW zeitgeist, a period during which his work was hugely influential, having been an early member of DAF as well as Din-A Testbild. A self-proclaimed “spokesman of the people,” more specifically of the Berlin underground, at a time when electronic music was taking over punk, dada and new wave, replacing teenage angst. Butzmann’s work threw longer and more disturbing shades out of the Berlin behind the wall – not unlike Die Tödliche Doris or Minus Delta T. He has collaborated with artists such as Genesis P. Orridge, Malaria! / Gudrun Gut, Thomas Kapielski and most notable is his ongoing work with Wolfgang Müller. His ‘Vertrauensmann des Volkes,’ debut album often states as the cornerstone of the German experimental and electronic scene.
The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.
3KA-3 / KEDR
DL Single Geo Records GEO 018
Release date: April 18
Dids took the name of Gagarin – the first man in space for his solo project after a visit to Russia and it resonates with those fantastical ideas of the early 60’s when we thought we’d all be travelling by personal jetpack. This year sees the 50th anniversary on 12th April of Yuris first ever flight and to commemorate this Gagarin is releasing a 2 track download single. This comprises 7″ style mixes of 3KA-3 – a glitchy, two step-referencing workout named after the code for Gagarin’s Vostok spacecraft and KEDR (Cedar) – his call sign, which features the man himself communicating with ground control and evokes that sense of exhiliration, claustrophobia and wonder that Yuri must have felt alone out there in Earth orbit.
Alongside this, Gagarin plans a series of commemorative gigs around the anniversary period.
The single will be available on the usual download stores on Apr 18th and also a limited edition CD single from gagarin.org.uk/geo_records.html
CD Geo Records GEO 019
Release date: May 30
Gagarin is the solo incarnation of GRAHAM “DIDS” DOWDALL – percussionist , composer, sound designer etc. He makes atmospheric and moody electronica inspired by landscape, environment, urban noisescapes, grooves and a wide range of musical influences.
Dids has had a long career at the cutting edge of the musical galaxy – involved in a myriad of projects ranging from avant rock to pop to drum and bass. He started out as drummer in cult Manchester band Ludus, recorded and toured extensively with Nico (Velvet Underground) and has a huge number of collaborations under his belt including with musical legends John Cale, David Thomas etc. He’s played around the world from a shamanic festival in Siberia to underground Tokyo clubs to castles in Scotland and France and most countries on the planet.
Gagarins musical hyperactivity continues unabated – he runs his own Geo label, is a member of the acclaimed Roshi feat. Pars Radio, festival legends Suns of Arqa , an associate member of the one and only Pere Ubu and has recently started a new project Low Bias with Rothko mainstay Mark Beazley as well as being an active community musician passing on skills & facilitating creativity for young people and adults with special needs, and teaching at Goldsmiths College.
He started the Gagarin project several years ago and has released records on his own Geo label, contributed to compilations and plays live regularly on the electronica scene where his unique genuinely live approach to electronica is always welcome.
His last album Adaptogen received critical acclaim in UK and across Europe gaining reviews in the Wire, Mixmag, the Word and many others and since that Gagarin has continued to gig regularly around Britain, has released a remix EP including mixes from legendary producer Youth and Robert Logan, has produced and released acclaimed records from Roshi feat Pars Radio and Raf and 0. He has contributed tracks to the record and live show of Pere Ubu’s Long Live Pere Ubu, performed at Big Chill, Glastonbury and lots of other festivals with Suns Of Arqa
BIOPHILIA is his latest album and continues his obsessive exploration of the interface between pastoral and urban environments and soundworlds. Tracks like Wanderlust feature field recordings and melodic/sonic responses to create a sense of place – in this case Pagham Harbour in Sussex whilst Third Rail and Carbon Flux are abstract evocations of Dids South London manor. Last child in the woods relates to Nature Deficit Disorder – the alienation of modern children from the natural world. The album moves between ambient soundscapes and more urban grooves with edgy beats, post rave synthlines, glitches, manipulated field recordings and influences ranging from modern classical and minimallism to hip-hop and dubstep. Eleven tracks creating a journey of sounds and ideas inside and outside the M25 via occasional departures from earth orbit into early space exploration ( 3KA-3, Kedr ) passing through stages of bliss and unease ( Pripyat is the central town in the “zone of alienation” left after Chernobyl, Galanthus inspired by the first Snowdrops of the year ).
Dids took the name of Gagarin – the first man in space for his solo project after a visit to Russia and it resonates with those fantastical ideas of the early 60’s when we thought we’d all be travelling by personal jetpack. This year sees the 50th anniversary on 12th April of Yuris first ever flight and to commemorate this Gagarin is releasing a 2 track download single. This comprises 7″ style mixes of 3KA-3 – a glitchy, two step-referencing workout named after the code for gagarins Vostok spacecraft and KEDR ( Cedar) – his call sign, which features the man himself communicating with ground control and evokes that sense of exhiliration, claustrophobia and wonder that Yuri must have felt alone out there in Earth orbit. Alongside this Gagarin plans a series of commemorative gigs around the anniversary period.
BIOPHILIA will be released as CD and download, 3KA-3/KEDR as download and limited edition Cdr available at gigs.
LAWRENCE ENGLISH + STEPHEN VITIELLO
CD Crónica 057
Since their initial meeting in Australia during 2006, Stephen Vitiello (USA) and Lawrence English (AU) have enjoyed a long distance collaboration orbiting around the joint passion for field recordings and modular synthesis.
Exploring the points of convergence and divergence between electricity and environment, the duet’s Acute Inbetweens is a collection of works derived from hazy environmental memory, imagined landscape and field recorded actualities. It’s a blurring mist of encountered spaces, recreated by means voltage controlled.
Like the spatial inspiration that guides the record, Acute Inbetweens pace is tempered and during certain pieces borders on a sense of timelessness. Pieces such as “La Voix est absente” unfold with a pacing of the lauded opening Lotus flowers at Sinobazu-no-ike pond, individual elements revealing themselves in subtle arcs of sound, swelling into a rich harmonic whole. By contrast “Exposure in Relief” is a more robust and pulsing work in which micro melodies spiral into one another.
Acute Inbetweens, sharp moments diffused in time.
Recorded and produced by Lawrence English and Stephen Vitiello 2007-2009. Mixed and mastered at 158, Brisbane. Special thanks to Andrew Deutsch for organ loop on “Exposure in Relief”.
A Young Persons Guide
2CD Editions Mego eMEGO117
Release date: May 7
ELECTRIC AND ACOUSTIC GUITAR, VOCALS, TAPES, AND GUITAR-SYNTHESIZER
PERFORMED AND RECORDED BY MARK MCGUIRE 2007-2010.
Compiled by Mark McGuire and Peter Rehberg
Mastered at Piethopraxis, Köln, January 2011
Photos by Mark McGuire
Layout by Stephen O’Malley
A Young Persons Guide to Mark McGuire collects together some of this Emeralds members best works, previously released on a number of limited editions CDr and tape releases over the last 4 years. Although, only 24 years of age McGuire has racked up an impressive canon which most artists twice his age would have problems delivering.
With his expert use of loops and layers, as well a superb ear for killer melody hooks makes AYPGTMM simply an essential collection.
12″LP+DVD Everest Records er_046
The Concept of Mathon (PETE LEUENBERGER, ROGER STUCKI und THOMAS AUGUSTINY) has been developed further for this forth album Terrestre. Up to now, the three musicians took the unique panorama and the region around this mountain-village as their inspiration and transcribed these views into musical atmospheres. Also for this last work they took their mobile recording-studio into the mountains and they chose the earth as their main theme for the compositions. The coexistence of nature and civilization and also the contradictions between the two can be heard on Terrestre.
For each of these six composition at least one guest-musician has been invited; Maria Capelli, Ronny Spiegel, Maurice De Martin und Nicolas Kellner all contributed their musical vision to this subject and the result can be heard on the 12″ vinyl. Further on the pieces were sent to other musicians and video-artists. The remixes by Kenneth Kirschner (12k/USA), i8u (Dragonseye Recordings/CAN), Steinbrüchel (Synchron/CH), Digitalis (Thinner/CH), Elektrohandel (D), Tobias Reber (Hyperfunction/CH) und Matu (Everestrecords/CH) and the video-works by Maurice De Martin (Zeitkratzer/D) und Marc-André Gasser (Magdesign/CH) are enclosed on a DVD.
L’Eglise des Crocodiles
LP Gagarin Records GR 2024
This is the second release of Max Goldt’s early tape music on Gagarin Records, and yet another brilliant collection of his percussive metallic miniatures. Max has been busy with his music since the late 1970s but is nowadays much more known in Germany for his writing. As on the previous album “There Are Grapefruit Hearts To Be Squeezed In The Dark” (GR 2020), most of the tracks are created with a simple set-up of prepared acoustic guitar, (pitched) voice, zither, some effect pedals and a multi-track recorder. The rhythmic patterns are played by hand using his self-invented “rubbermind method”.
Side 1 contains the original six tracks of the long-deleted 10″ EP “L’Eglise des Crocodiles” from 1983. All of them have been carefully re-mastered. Watch out for the iron lady! Master, be patient! Beware of the modern powders! Type along with the strange secretary! All of these essential subjects are dealt with here.
Side 2 offers another half dozen rubbermind tracks, this time some unknown examples that have never been released before. Listen to the ominous story of Aunt Rahmbein who suffocated in a ring cake. Immerse yourself in Miss Zander’s world of symbols (“My husband is only a symbol for the steel crisis in Saarland”). No matter if you dance on air or with Uncle Joe, your feet will be carried by secret forces from groove to groove…
Max Goldt’s humorous, disturbing lyrics sometimes take on the quality of short radio plays. As we consider them just as important as the music, we decided to print them on the inner sleeve in German and English version.
CD FlatMate FLT002
Flatmate Music presents FLT002. After three years of their last album Semeion, Randomicon is ready, the new work of Retina.it is going to be released on the Spanish label Flatmate Music (parent label from Störung) in April 2011.
Randomicon is the result of experimental sessions using modular synths, most of them constructed by Nicolo Buono. The casual approach of the timbre selection has opened new possibilities, pushing the Italian duo sound to other boundaries that had characterised until today the project of LINO MONACO and NICOLA BUONO. The title Randomicon wants to be a tribute to the ‘randomness’ that has determined the origin of the universe.
Randomicon is released in a limited and numered edition of 500 copies; every digipack is unique.
All music by Retina.it
Recorded at Sy6lab
Mastered at Calyx Berlin
Artwork direction and graphic design by AP-AA
Computer programming titles by Federico Crivellaro
IN IT (IMMERSIVE LIVE SALVAGE)
5.1 DVD + UHJ LP Editions Mego eMEGO 115
Release date: April 11
UHJ vinyl LP cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2011
5.1 DVD encoded & authored by Ian Robinson & Sophie Elder at Ascent 142, London, January 2011
A 5.1 Surround DVD (Dolby Digital + DTS, ‘audio only’) + Ambisonic UHJ Vinyl LP (Stereo compatible)
Following an invitation from Autechre to support them on their 2010 European ‘overstepper’ tour (30 Concerts, 15 Countries), Russell Haswell Þlled a Pelicase with a Contact Mic, Crystal Mic, Electronics w/ Light Sensors, FX Pedals, SOS Whistle, Various Multi-Color Headlamps w/ Flashing Modes, and boarded the tour bus.
Each night, while performing his Solo Free Improvisation, Haswell also recorded as many gigs as possible with a surround recorder. Selections from these live recordings are presented in Surround on this unique package containing a UHJ LP* and 5.1 DVD, housed in a 12″ sleeve.
5.1 DVD (DOLBY DIGITAL + DTS, ‘audio only’):
1 – Milan, March 25, 2010, Part 1 (5.1)
2 – Leeds, March 17, 2010, Part 2 (5.1)
3 – Encore from Brighton, March 18, 2010 (5.1)
4 – Birmingham, March 12, 2010, Part 2 (5.1)
5 – Amsterdam, April 8, 2010, Part 2 (5.1)
6 – Brussels, April 9, 2010, Part 2 (5.1)
7 – Encore from Manchester, March 11, 2010 (5.1)
8 – Geneva, March 23, 2010, Part 3 (5.1)
9 – Lyon, March 22, 2010, Part 3 (5.1)
UHJ LP SIDE ONE:
1 – Budapest, March 29, 2010, Part 1 (UHJ)
2 – Zurich, March 24, 2010, Part 2 (UHJ)
3 – Berlin, April 1, 2010, Part 2 (UHJ)
4 – Encore from Bologna, March 27, 2010 (UHJ)
UHJ LP SIDE TWO:
1 – Encore from Nantes, March 21, 2010 (UHJ)
2 – Encore from Luxembourg, April 8, 2010 (UHJ)
3 – London, April 10, 2010, Part 4 (UHJ)
4 – Hamburg, April 6, 2010, Part 3 (UHJ)
5 – Encore from Hamburg, April 6, 2010 (UHJ)
Approximate Total Time (DVD + LP) = 1:28:38.31
CD Noble Records NBL-201
Release date: May 20
He appeared out of nowhere Š an electronic musician with magical powers who cast a potent spell onto the world to introduce the coming of this new talent. This is Serph. While his fantastic, charming, and dreamy pop album “vent” continues its long and astounding sales, Serph has already completed his new album which will be released again proudly by noble.
His first album was released only 3 years since first learning the piano and starting song composition. This was 2 years ago. Last July, he released his new album, “vent” and his brimming creativity is leading to a high pace of new releases. Serph, a solo project by a male Tokyoite, incorporates the various musical elements of jazz, breakbeats, techno, film scores, and progressive rock. Serph’s music is highlighted by ever changing styles and an exceptional melody line that is like song beyond song though instrumental. The fairytale like world with its strong story nature is turning heads and drawing the world’s attention on this new form of lovable and unfettered pop music.
In the new album “Heartstrings”, he brings the originality and the story of his music to the next level and creates the ultimate fantasy as if Ghibli and Disney came together as one. The jazzy piano and charming electronic sounds, the hallmark of his music, is complemented by many string instruments in this album. The colorful and dashing rhythm programming is arranged like a creature traveling through complex metamorphosis and the magic of the beautiful and romantic melody created by strings and piano will strike a chord just as the title says. Filled with a positive and festive mood throughout the album, this is a thrilling and heart dancing story of music.
Five years since entering the world of musical production. Music is the ultimate and ever free playground. Serph sounds a fanfare to the bright and glittering future of pop music. The journey continuesŠ
A solo project by a male TOKYOITE. Released his first album, “accidental tourist” from elegant disc only 3 years after starting piano and composition. His 2nd album “vent” was released from noble records in July 2010. Serph is scheduled to release his 3rd album “Heartstrings” from noble records in April 2011.
The Ruined Map
LP Gagarin Records GR 2025
Technical Drawings is a hyper-modified percussion duo comprised of MELISSA ST. PIERRE and JESSE STILES.
Melissa’s weapon of choice is the prepared piano, made notorious by John Cage. Using a variety of physical modifications to the piano strings – inserting rusted bolts, pencil erasers, melted coins, etc. – St. Pierre untames the piano, taking it out of the parlor and into the world of rock, electronica, and beyond. Jesse is a musician and new media artist who creates works that are simultaneously entertaining, disorienting, immersive, and transcendental. In Technical Drawings, Jesse builds Melissa’s piano phrases into walls of rhythm, collaging them with disassembled drum phrases and custom signal processing. The results create sound worlds with bizarre depth and unpredictable trajectories.
“The Ruined Map” is Technical Drawings’ debut release. Herein, St. Pierre and Stiles pioneer a new genre that has been termed “Dub Concrète,” combining influences from neoclassicism, rock, gamelan, and hip hop with results both weird and electrifying. In one of the record’s centerpieces, “Strange Flora,” the post-rap poet Todd Jones verbalizes the musical journey: “We found an island on the edge of the world. With no name for it we made a claim for it.”
“The Ruined Map” was recorded over the course of two days in Missi’s attic in Pittsburgh. Post production took place in a remote rural textile factory in which Jesse lived from 2007 to 2010.
VALERIO TRICOLI / THOMAS ANKERSMIT
CD PAN 16
‘Forma II’ is the first collaborative output by Thomas Ankersmit and Valerio Tricoli.
Composed and recorded in Berlin from 2008 to 2010 the music consists of four electroacoustic pieces based largely on analogue synthesizer material and one long-form swarm-like composition for multiple overdubbed saxophones. Additional sounds range from metal foil floating on ultrasonic sound-beams to mechanical clickers recorded in the abandoned radar domes at Teufelsberg. The raw materials have been extensively processed and re-constructed using analogue tape and digital methods. The five pieces shift between sharply detailed blizzards of electronic interference to passages of delicate balance, between calm and turbulence, between stasis and rapid shape-shifting, between multiple virtual spaces and non-spaces.
Thomas Ankersmit is a saxophonist, electronic musician and installation artist based in Berlin and Amsterdam, who combines abstract, intensely focused acoustic saxophone work with hyper-kinetic analogue synth and computer improvisation. He also creates installation pieces that use sound, infrasound and “modifications to the acoustic characters of spaces” that disrupt the viewer/listener’s perception of the exhibition space and their presence within it. He frequently works together with New York minimalist Phill Niblock. Other recent collaborators have included Kevin Drumm and Borbetomagus.
Valerio Tricoli is a Berlin-based composer, improviser, sound installation artist, producer, sound engineer and curator bridging musique concrète and conceptual forms of sound with a radical interest in how reality, virtuality and memory relate to each other during the acoustic event. He mostly uses analogue electronic devices (reel-to-reel tape recorders, synthesizers, microphones, light effects, ultrasonic speakers). The structure of the setup is ever-changing however, seeking multiple relations between the performers, the device and the space in which the event takes place. He is one of the founders of 3/4HadBeenEliminated and the Bowindo label/collective.
The CD is mastered by Rashad Becker at Clunk, in a limited edition of 1000 copies. It is packaged in a pro-press digisleeve jacket which itself is housed in a one-tone silk screened pvc sleeve with interweaving geometric designs, with artwork by Kathryn Politis and Bill Kouligas.
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