Essential piece of modern composition from American composer Ingram Marshall, using tape delay, Serge synth and foghorn field recordings reissued on Arc Light Editions. Described by John Adams as "the antithesis of the human voice against the vast becalmed presence of the natural world." Originally released in 1984 on Foster Reed's influential New Albion label (which also released work by John Cage, Pauline Oliveros, and Morton Subotnik) it has not, until now, been made available again on vinyl. Fog Tropes began life as a series of field recordings of foghorns around the San Francisco Bay, made in 1979 for performance artist Grace Ferguson. These were then manipulated, added to, and expanded for performance with a brass section, which acts in sonorous call and answer with its industrial counterpart. In the record's original sleevenotes, Marshall recalls: "A lot of people are reminded of San Francisco when they hear this piece, but not I. To me it is just about fog, and being lost in the fog. The brass players should sound as if they were off in a raft floating in the middle of a mist-enshrouded bay." The tone is somber, the rhythm tidal, the sound world an affecting piece of tape collage and modern/minimal composition, with echoing brass, gulls and sirens in the mist. Gradual Requiem is dedicated to Marshall's father, Harry Marshall. The piece is split into five parts, and includes a Serge synthesizer, with John Adams conducting. Tape delay and electronics are used in the sparse composition, a liminal spirit world, where familiar acoustic sound sources are processed lightly with electronic and tape manipulations and the hollow sound of the gambuh. Marshall began playing the two pieces together, later compiling them for this release. Together they mark a key moment in composition, bringing together environmental sound recordings, ethereal voices, brass and gambuh (Balinese flute), with Serge synthesizer and carefully executed tape manipulations.
"In 1969 Nancy Dupree was running an after school music program in Rochester, New York. She helped the kids in the program write songs that related to there own experiences and feelings. The results are presented on this LP, and they are really something else. There are black power anthems, odes to stealing candy, a beautiful tribute to James Brown and an even more beautiful tribute to Martin Luther King. Not a novelty record with kids being goofy but rather a heartfelt work of art. Nancy Dupree sensitively accompanies the kids singing on piano. A real classic. The cover is a faux Folkways style wrap around print on an old school 'tip on' jacket. Includes a liner note insert. A co-release with our friends Moi J'Connais."
Slipping Control is Ben Vida's new LP. Slipping Control derives from the text piece "Tztztztzt Î Í Í...," written in 2013 by Ben Vida (and published as a book by Shelter Press). Composed to act as a score, a sound piece and as raw data for an electronic control source, "Tztztztzt Î Í Í..." became the intrinsic element that tied together some different pieces of art made by Ben Vida and presented at the eponymous show at AVA Gallery (NY, USA) in April 2013. "I was interested in the rhythm of speaking, interested in using the voice to create rhythmic patterns that would inevitably break out of time and become asymmetrical and awkward. I wanted to create one set of control sources (the text) and run them through a bunch of different systems (the video, the book, the record, etc.) and see how the original source material morphed and changed as it manifested in these different modalities. The process of developing each unique work involved setting the control paths for the text to be processed though. In terms of this path, the first step after writing the text was to find the primary filter of interpretation and translation that would start this process of slipping control -- and this is where Tyondai and Sara come in..." A Control Path may look something like this: Text > Performer/Vocalist > Voiced Recording > Electronic Analysis > Reconfigured Text > Audio Synthesis > LP Record. Or maybe like this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation. Or this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation > Color Field Panel Display. Or more simply: Text > Poster. All music by Ben Vida, with Tyondai Braxton and Sara Magenheimer. Mastered and cut by Helmut Erler at Dubplates + Mastering. Pressed at Pallas in an edition of 500 copies worldwide.
"Waxwork Records is thrilled to announce that their next LP release is the 1982 horror anthology classic, Creepshow. The film was directed by George A. Romero and written by Stephen King. The score was composed and performed by John Harrison (Day of the Dead, Tales from the Darkside). This definitive release of the film score has never before been released. The original master tapes of the Creepshow film score were lost for over 30 years, but with the efforts of composer John Harrison and Waxwork Records, the tapes were located in the attic of Jeree Recording Studios in New Brighton, PA. The tapes remained in remarkable shape over the years and were re-mixed and re-mastered for vinyl. The Creepshow score has never sounded this good. Pressed on 180 gram vinyl, housed in a casebound tip-on gatefold jacket with satin coating. A built-in booklet features production stills, artwork, and liner notes. Also includes a satin coated 12"x12" art print of The Creeper."
Catherine Ringer (from Rita Mitsouko) sings Müller & Makaroff (from Gotan Project) This is the story of two worlds sizing each other up, meeting and getting to know each other. On one side, the Argentinean Eduardo Makaroff and the Swiss Christoph H. Müller, the two pillars of Gotan Project, looking for extracurricular activities: to establish a bridge between tango and pop music, with original themes. To help them do this in style, a few female singers agreed to step out of their usual repertoire (rock? jazz? flamenco?). So they started to write for these singers and established a list of singular and prestigious vocalists outside of the world of tango. The Gotan pair brought her the lyrics and arrangements for two songs. She recorded the vocals. They were amazed by her ease. Christoph Müller called it "organically natural." Catherine loved the project, and has a penchant for all things Latin: remember "Marcia Baila," one of Rita Mitsouko's most emblematic songs, a tribute to Marcia Moretto, an Argeninean dancer based in Paris with whom Catherine had worked before starting Rita. She also sang in a musical by Argentinean director Alfredo Arias. And it's clear that "La Ringer" loves to perform and change styles, and with a soupcon of French accent, it's absolutely perfect. They asked her to sing -- in Argentinean Spanish, of course -- on the entire record. They called it Plaza Francia. According to Gustavo Beytelmann, the legendary Paris-based Argentinean tango arranger, who worked on Plaza Francia: "She has a tango personality, which is rare." This untraditional tango reaches out to pop music with a rhythm close to Catherine's musical past and with climatic effects in the orchestration. This is all ensconced in Beytelmann's silky setting of piano, bandoneon, and strings. It's more than tango, it's France meets Argentina, Piazzolla meets Santana. The lyrics speak the language of tango: heartbreak, drama, exile -- and love. This is no small event, for with this record, Catherine Ringer opens the doors to the Americas, opened one century before by another French lady, Edith Piaf. Deluxe gatefold double LP with printed innersleeves and a CD version featuring two bonus tracks.
August Harp is Sarah Davachi's second release, and is reflective of her ongoing exploration into the topography of spectrally immersive textures and aural environments. The compositions on this album consider notions of sustenance, shifting harmonic spectra, psychoacoustic derivation of artificial resultant tones, and interior movement within a semblance of stasis. Over the past five years, Davachi's compositional projects have been primarily concerned with disclosing the antiquated instruments and forgotten sonics of a bygone era in analog synthesis; her work on August Harp puts forth offerings from Buchla & Associates, Sequential Circuits, and EMS (London), subsuming transitions that took place between 1968 and 1981. Informed by the lush electronic tapestries of experimentalist-era synthesis pioneers, her music often exudes the sorts of wandering transformations inherent in real-time performance with analog equipment. August Harp exploits the innate instabilities of these instruments, constructing layers of texture that seem to pull each other apart as the discrepancies in frequency of the merged sound gradually swell and wane. Coupled with acoustic instruments such as cello and organ, Davachi seeks to direct the experience of timbral coalescence: mutual acoustic identities are brought together; cocooning the listener into a space that is at once physical, yet invariably out of reach. As a composer of electronic and electroacoustic music, Sarah Davachi engages in practices of analog and modular synthesis and psychoacoustic manipulations. Her compositions focus on the experience of enveloped sonic dwelling, often utilizing extended durations and drones, gradual transformations in texture, fluctuating and spectrally-rich timbres, and simple harmonic structures that emphasize variations in overtone complexity and natural phasing patterns in order to approach distanced and altered landscapes. Davachi holds an MFA in electronic music and recording media from Mills College in Oakland, California and, since 2007, has worked for the National Music Centre in Calgary as an interpreter and archivist of their collection of acoustic and electronic keyboard instruments. Her writings on experimental music and phenomenology have been presented and published within Canada, the United States, and the United Kingdom, and she has held artist residencies at The Banff Centre for the Arts, STEIM, WORM (Rotterdam), and EMS (Stockholm).
Double LP version. Echocord presents the third album by Fluxion. In the beginning of 2013, K. Soublis (aka Fluxion) met Jamaican vocalist Teddy Selassie in NY. After a brief discussion, they started exchanging music and lyrics and by the end of 2013, the Broadwalk Tales album came to life -- an album of musical pieces that visit the roots of reggae and dub music with the distinct Fluxion production aesthetic, combining them with more ambient atmospheric tracks as well as techno and more experimental productions. In the words of the artist: "I wanted to make something more than the usual dub techno tracks with a hint of manipulated voices every now and then. Teddy Selassie came in and gave a breath to the whole material, made it more alive, broadening the journey."
LP version. Housed in a gatefold sleeve. Faitiche is very pleased to present a new album and, at the same time, a well-known name: Farben Presents James DIN A4. In the summer of 2013, Farben (Jan Jelinek) remixed his way through the extensive oeuvre of the sample and collage artist James DIN A4 (Dennis Busch) -- and gathered 10 of his favorite titles here. Find out more in the following interview: Jan Jelinek: Dennis, you're a musician and an artist who creates audio and visual collages, as well as designing fashion. Could it be said that the principle of collage is what underlies all of your activities? Dennis Busch: Yes, that's the common thread running throughout my output. I shake the kaleidoscope and don't know what the result will be. If I don't like it, I keep shaking -- until some sensible nonsense appears. JJ: Your tracks meander from position to position, and have the effect of seeming to lack concentration -- in a positive sense. What's interesting is that in nearly every track there is one constant: a straight beat. Is this comparable to the white sheet of standard DIN A4 paper on which the collage snippets are spread out? DB: Four-four time is a kind of diametrical baton. It creates structure and acts as a kind of hostel warden to keep the pubescent samples in line. This is important in order to conjure up a fitting little dress for the playful bumblebees and weeds that are the samples. In fact, a track may sometimes present itself as slightly unfocused, but only under the fullest concentration and dedication. A track that starts off as a swimwear vendor at the North Pole may indeed fade away as a gravedigger at the end of an exploding rainbow."
LP version. 180 gram vinyl with CD. The improvisational trio 1982 consists of Nils Økland, Sigbjørn Apeland and Øyvind Skarbø. The trio has already released three critically-acclaimed albums. On their previous album, the musicians collaborated with pedal steel legend BJ Cole. This time they have invited wind players Fredrik Ljungkvist (Atomic), Erik Johannessen (Jaga Jazzist), Sofya Dudaeva, Hanne Liland Rekdal, Matthias Wallin and Stian Omenås (Stian Omenås Klangkammer) to participate in an unusual collaboration. As the title of the trio's fourth album, A/B, indicates, it is divided into two parts. The album is built up with the classic LP structure of an A-side and a B-side, with a long piece, 18:16 minutes, filling the entire A-side. This piece clearly stands out as the most distinctive in 1982's discography up to now. Taking his point of departure in improvisations recorded by the trio, trumpeter and composer Stian Omenås has "expanded on" the idiom and has composed and arranged music for a wind sextet that has been layered on top of the original improvisation. On the A-side Tobias and Henrik, the sons of Sigbjørn and Nils, respectively were pulled in to help, and on the B-side we once again hear 1982 in the form of a trio, with several new ideas that serve to enlarge the 1982 universe. Sigbjørn plays piano on one track, and Nils Økland sings. These recordings were made at Grieghallen Studio in Bergen just before the studio was closed down in the summer of 2013. The wind sextet was recorded at Rainbow Studio in Oslo with technician Jan Erik Kongshaug. Nils Økland (Hardanger fiddles, violin, voice); Sigbjørn Apeland (harmonium, piano); Øyvind Skarbø (drums, percussion).
LP version. Augustus Pablo's unique sound which was created around playing what could best be described as a child's musical toy, the melodica. It made him a very popular session player in the late 1970s and early '80s. It was not only his unique talent of playing the instrument but also his talents on the piano and the keyboard. Pablo worked on a variety of sessions for all the top Jamaican producers, but especially for King Tubby at his studio in the heart of the Waterhouse district of Kingston, Jamaica. Jamaican Recordings have compiled a set of rhythms that have King Tubby and Phillip Smart at the controls and Augustus Pablo adding his musical flavor to the mix to make what many believe to be a great album.
Robert Hood celebrates the 20th anniversary of his M-Plant label with a sequence of EPs featuring classic M-Plant releases and rarities remixed and re-edited, a compilation bringing Hood's huge body of work together. Kicking off the EP releases, UK techno stalwart Mark Broom delivers these exceptional edits of "Untitled 1" from Hood's series Moveable Parts and "One Touch" from the Minimal Nation album. Mark Broom's edit of "Untitled 1" adds even further depth and a dirty funk feeling to this hypnotic dancefloor killer. His edit of "One Touch" plays with the bass and chops up the beats to intensify this dark mover.
Until the collaborative album between Sonic Boom & Sinner DC entitled Maps is released, here are two colorfully mind-altering club versions by the one and only Pete Kember, more usually known as Sonic Boom, founding member of alternative neo-psychedelia rock band Spacemen 3 -- a main influence on the likes of My Bloody Valentine and Slowdive and producer of the likes of MGMT and Panda Bear. Pressed on clear vinyl.
LP version. Includes a download card. Adventurous Belgian percussionist Eric Thielemans makes a fairly unusual entry into the Miasmah catalog with the surprisingly positive-sounding album Sprang. Thielemans has actually appeared on the label earlier -- as guest percussionist on Kreng's debut album L´Autopsie Phenomenal De Dieu. Although you can recognize the sound on this record, the main focus of Sprang is to revert to the pure joy of sound experimentation and letting go of your foothold. Thielemans' previous exercises in expanding singular ideas and rituals in the two genre-bending and theoretical albums, A Snare Is a Bell & EARR Plays a Snare Is a Bell (SR 339CD), inevitably leads to Sprang. Embracing the bliss of working freely with his many percussion tools, he creates 11 pieces that are both instinctual and industrial. His impulses evoke a calm yet alive atmosphere where there is always movement. The tones of dripping water, settling dew, and flourishing plants of spring are juxtaposed with unexpected sounds of motion, of factory equipment, and gears turning. Though Sprang is a solo percussion album, its detail and depth is something wholly unique. Thielemans broadens his theory that there is always more to hear, more depth to interpret, and a way for the listener to add their own elements and create something new. A welcome addition to the Miasmah catalog, whose slogan "music for scenes and places" maybe never has been more spot-on.
The All You Could Do EP from DJ Alex Banks sees him exploring similar territory to his eclectic Monkeytown label bosses Modeselektor, fusing techno crunch with the electro-indie songwriting suss of groups such as Animal Collective. Plucked guitar comes together with pulsating machine rhythms, all made emotive by the melancholic vocals of Elizabeth Bernholz of Gazelle Twin. As well as the original "All You Could Do," there's a beautifully stark, pulsating remix by Phon.o, a slower "Alternate" take, and a brand-new tune called "Phosphorus" that comes on like the mighty Crystal Castles raving it up at a Polish warehouse party.
John Lacey is an important player in British electronic music and conceptual performance art; he was an early collaborator with Chris Carter, part of COUM Transmissions and collaborator with Chris & Cosey's CTI. Under the pseudonym John Gunni Busck, he was involved in co-devising a number of projects in the mid-1970s within the music and performance art collective COUM (formed around Genesis P-Orridge), acting as the group's technical director. Running concurrently to COUM was John's own group, Vacuum Productions. It was within Vacuum that John began to collaborate with Chris Carter, aiding each other in their live multimedia shows (Waveforms and The Missing Thinker), as well as creating soundtracks for John's films. It was John that introduced Chris to Genesis and Cosey Fanni Tutti and we all know what happened next. Armed with his homebuilt synthesizer, tone generators and a delay unit, he created the live soundtrack for the COUM Transmission "Music for Stocking Top, Swing and Staircase." The performance took place on the 1st of October 1974 at the Gulbenkian Hall, Royal College of Art, London and lasted 12 hours. The recording was captured in less than ideal circumstances (a portable cassette deck) with little bits of tape warble, hiss and external sounds appearing in this abbreviated edition, in keeping with the spirit of COUM. The music itself creates an evocative atmosphere and is at times hauntingly beautiful, providing an alternate glimpse into the work of COUM. Original 1974 recording remastered by Matt Colton. Edition of 300 copies, vinyl comes with a free CD containing an 80-minute expanded version of the recording. Limited availability, one per customer...
Like a dream you don't want to admit, F.A.G. Diarrhea Cult's "Ashes 2 Ash" is gut-wrenching, punchy, and frighteningly vague -- a dark, minimal collage of canned sound, bleak, unaccommodating lyrics and almost-there grooves. Meet Ashlee, your mother, your sister, the girl next door. Among gym-whistles, clipped chimes and noisemakers, she sings of an agitated encounter with a dog. In lazy autotune she tells you why you ought to sober up. She thinks you're her brother. For all the EP's DIY irreverence, there is complexity and richness in turn -- of vocal phrasing, of rhythm, of language.
Ralph Cumbers' debut Bass Clef 12" for PAN sees the modular maestro stalking the floor with typical, technical suss and cheeky UK humor. This EP patches a lattice of reference ports between Radiophonic experimentation, bedroom electronica, classic dub production techniques, and the spirits of halcyon UK rave music. His "Self-Perpetuating Fun Loop" is razor-sharp acid funk in the tradition of Luke Vibert and the Rephlex hordes, and "Fluorescent City Shining City" is a playful piece of acid-dub strut. "Euphoric Nihilism" flashes glimpses of 'ardcore whistles and EBM in its tightly-coiled matrix, while "Adventures Unventured, Tenderness Untendered" is a blissed steppers' kiss-off meeting digi-dub and misty-eyed IDM.
"Long-time wielder of the modular-flame, Ralph Cumbers has a distinguished CV for the likes of Punch Drunk and his own Magic+Dreams imprint. Here, across four extended sequences he shines, taking the crystalline drive and coarse groove of the acclaimed Reeling Skullways LP into hotwired groove zones. 'Sometimes the only way out is to go further in' starts the trip. Take care dear listener; once you're in track one, you may not want to escape from its grip, its cyclical riffs, its space dust licks, its buttered bass notes. Then, the sadness. The mournful minor key shuffle of 'elsewhen' is sheer blue-note Blade Runner melancholy. Then, the euphoria. Instant gratification hits you on 'faster than the speed of love' a click-pump-click-pump kick surrounded by jagged sawtones, straight to the chest. Through swirling, speed-addled melodies Clef then leads us - Detroit nights under Hackney sodium lights. Then, to a breath. Bugbranded arrives at an all too premature end with 'neon black and vulcane' a glistening collage of white noise splash, acidic whispers and head-nod-chug. This is techno how it was dreamed in Belleville, re-imagined by a genius with a synth or three. In Clef we trust, for all our magic and dreams. Limited edition of 500 in debossed house sleeve, individually hand numbered."
Gatefold double LP version. Includes CD of the album.
Music from Planet Earth Volume 1: Martians, Ray Guns, Flying Saucers & Other Space Junk
First in a series of three 10" records. Limited edition, comes with a sticker. Each copy also comes with 24x24 cm screenprint of the front cover. Signed by artist Marcel Bontempi. Back in the late 1950s and into the early '60s, everyone seemed to become obsessed with the possibility that science fiction might become science fact. Movie houses and drive-ins across America were fascinated by the idea of a Martian invasion, with a suitably Theremin-powered eerie soundtrack, not to mention the prospect of the rise of unruly robots. Never one to miss jumping on a trend, the prolific Jimmy Haskell produced a whole album of space-based tomfoolery called Countdown for the Imperial label. Similarly, in the UK, Joe Meek produced the concept album I Hear a New World to quench his intrigue in the stars, having already peaked the public's imagination with his "Telstar" hit with The Tornados. Meanwhile, in Belgium, in the process of developing new possibilities for sound recording, Tom Dissevelt and Kid Baltan produced the electronic pulse at the heart of "Song to the Second Moon." Aspiring rockabilly performers and early rock 'n' rollers in the southern states picked up on the phenomena while craning their necks upwards. Billy Lee Riley And The Little Green Men, The Wildetones, Buck Trail and Joe Tate all took the idea to new levels of incredulity, while Lynn Vernon's instrumental chops for the Tennessee-based Cover label just needed a suitable title to put it in the frame. But if those southern performers were looking to the skies for inspiration, legend has it that Sun Ra And His Arkestra were looking down on them from their own planet.
LP version. Jac Berrocal has not released an album for 20 years. The legendary French trumpeter is back with his special atmosphere and feeling and lots of guests, too. Jacques "Jac" Berrocal (born October 22, 1946, Saint-Jean d'Angély) is a French trumpeter, singer and composer. He has been active since the 1970s in the independent and avant-garde music scene (he recorded/played with Steven Stapleton/Nurse With Wound and collaborated with Sunny Murray, Pascal Comelade, MKB (F. J. Ossang), James Chance, Alan Shorter, Bernard Vitet, Lol Coxhill, Michel Portal, Lizzy Mercier Descloux). He has released a few important albums, mainly on his own label d'Avantage. He also founded and performed in the group Catalogue. Berrocal has also appeared in several films. In 2011, Sub Rosa released a unique collaboration between him, Ghedalia Tazartès and David Fenech (SR 321CD/LP).
The Death Of Rave's fifth turn presents a lesser-heard aspect of L.A.-based producer, Delroy Edwards. While best known for making bangers steeped in raw Chicago ghetto house for L.I.E.S and his own L.A. Club Resource, Delroy's Teenage Tapes LP yields eight tracks built with a similarly stripped-down approach, yet with altogether different results owing more to minimal wave, noise, EBM, and black metal. Half of the release documents reel-to-reel and guitar pedal experiments recorded to tape while Delroy was at art college, which he's been saving for the right release. The other half stems from more recent sessions on his SH-101 and drum machine that didn't quite fit in with his pounding DJ tools. Those nascent, freeform noise pieces range from intense, bilious drones to vicious, combustible little buggers nodding to classic Prurient and The Haters, whereas the improvised, rhythm-driven cuts bear comparison with Liasons Dangereuses' EBM blueprints, the motorik momentum of Wold, and the obscure early '90s tape experiments of Tuning Circuits. Committed to worn-out tape in one-take shots over a number of years, it's all testament to the spirit of febrile spontaneity and disciplined dexterity consistent to Delroy's art, an aesthetic acutely at odds with so much anodyne dance music and manicured noise. Mastered and cut by Matt Colton.
"On the cover: The Compiler, an ahistorical survey of paradigm-busting anthologies, compilations, playlists and other assemblages: from folk song compendiums to DJ led scenes, from The Rock Machine Turns You On to The Secret Museum Of Mankind, Wire writers give us their thoughts on the art of curating music. Inside the issue: Invisible Jukebox: Okkyung Lee (The nomadic cello virtuoso gets strung up with The Wire's mystery record selection); Marshall Allen (Val Wilmer reveals the true story of the Sun Ra Arkestra leader's formative years in the Paris interzone); Inga Copeland (Former Hype Williams vocalist doing it for herself); Officer! (The war's not over for ex-Rock In Opposition campaigner Mick Hobbs); Nat Birchall (The UK Saxophonist is evangelizing for spiritual jazz); Jack Ruby (70s New Yorkers who forged a path between punk and synth madness); Global Ear: Delhi (Josh Feola enters the Indian city's electronica underground); Cross Platform: Eric Chenaux (The Canadian musician amps up his AV project with Eric Cazdyn); The Inner Sleeve: Peanut Butter Wolf; Epiphanies: Arto Lindsay."
Inigo Kennedy releases his first full length on Token, Vaudeville. In true, theatrical manner, Vaudeville is a collection of differing themes -- from the abstract and freakishly odd to the direct and resonant. And just as the Vaudevillian shares a common purpose with his co-stars as the "voice of the city" ("voix de ville"), there runs through the center of this record a clear narrative of the urban experience. Here is a single to portend the full show: Lullaby/Petrichor.
Dutch DJ, producer and Wolfskuil label boss Darko Esser presents his sophomore album, Anipintiros. The eight-track album comes four years after his debut and is his first as Tripeo, the techno-leaning alias he has been working under in recent times. Working as Tripeo has reinvigorated Esser, who under his own name has been producing his unique take on electronic music for a decade now. Tripeo's music is aimed squarely at the dancefloor, and there sure are some full-blooded cuts on the album, but there are also deep, dark passages and more leftfield experiments to help tie the whole thing together into one cohesive and coherent whole. "Like all albums, this is a very personal statement," explains Esser. "It's just me trying to translate the overwhelming inspiration I feel right now into sound. That, and making the record as diverse as possible without losing the purist identity of Tripeo." That identity shines through right from the off on the album, which has been made using a knowing blend of both soft and hardware. "Anipintiros #1" is a firmly-rooted, rubbery bit of deep techno that works you into hypnosis and comes detailed with plenty of otherworldly ambiance. From there, Tripeo explores gallivanting techno run through with celestial pads on "Anipintiros #2" and tripped out, ever shape-shifting and dusty minimal sounds on "Anipintiros #3." "Anipintiros #4" channels the widescreen and pumping techno of Detroit's finest while "Anipintiros #5" is a more industrial and muscular track of the sorts that would sound perfect in the bowels of Berghain. "Anipintiros #6" is one of the busier and more kinked techno rhythms with punchy drums and fax machine-like melodies, before "Anipintiros #7" thumps with real menace and "Anipintiros #8" hums and hisses, spits and stutters like the suitably epic and melodic comedown you need after such a captivating ride. Everything, though, is backed with serene synth-work and an otherworldly sense of alien spirit that runs through all great techno. There is plenty to get lost in throughout Anipintiros and it proves once again that Esser is someone able to coax far more feeling out of his machines than most. Includes CD version of the album.
Turkish Freakout: Psych-Folk Singles 1969-1980 2LP
Three Quarter Tone Piano Pieces Cassette
Creepshow (Original 1982 Score) LP
The ''Killer'' Rides Again LP
Reggae Veterans Volume One LP
Modern Mayan: The Indian Music of Chiapas, Mexico LP
Brazilian Guitar Fuzz Bananas 2LP