Born in Berlin in early 2014 and nurtured over the following summer, I Declare Nothing is the spine-tingling collaboration between Tess Parks and Anton Newcombe (The Brian Jonestown Massacre), co-written and co-played by the duo and released to coincide with their 2015 European tour, following their Record Store Day 2015 Cocaine Cat single (AUK 118EP). A native of Toronto, Tess Parks moved to London, England, at the age of 17, where she briefly studied photography before deciding to focus on music. Parks made an impression on industry legend Alan McGee, founder of Creation Records, though the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Parks was due to move back to Toronto. After moving back to her hometown in 2012, Parks formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his label 359 Music. Parks became one of his first signings and released her debut record, Blood Hot, in November 2013 to excellent reviews. One reviewer described her as "Patti Smith on Quaaludes." Others have mentioned her "gauzy psychedelic sound" and "smouldering voice." Alan McGee himself said, "She's only 24 and is already an amazing songwriter... she just doesn't quite know she is yet -- her most beautiful quality is her lack of ego. Tess is an amazing lady." Anton Newcombe is the leader of The Brian Jonestown Massacre, who returned in May 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), to critical acclaim, and released Musique de film imaginé (AUK 032CD/LP) in 2015. The band's first album to be fully recorded and produced at Newcombe's recording studio in Berlin, it was supported by a successful European tour. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock 'n' roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Through two dozen band members and numerous "ups and downs" (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe. LP pressed on amber 180-gram vinyl.
The Silver Globe expands: as one of the most industrious female multi-instrumentalist songwriters in modern pop, Jane Weaver literally doubles the content of her acclaimed 2014 album for the double-CD version of this synth-ridden special release. Unlike so many other big label "campaigns" that vied for PR attention via ego-fuelled video promos and down-your-throat advertising, this unassuming, dedicated, focused piece of experimental vocal pop was in no way spoon-fed to editors or playlisters. Nor did it fall within the lines of what might have been considered fashionable or culturally relevant. The Silver Globe was judged on its own merit as a brilliant, uncompromising pop record. By the end of 2014 The Silver Globe had been announced as Piccadilly Records' best album of the year, earned a spot in Gilles Peterson's top ten Worldwide Tracks of the Year, garnered repeat plays from virtually every specialist DJ on BBC Radio 6 Music (among many more global radio stations), found DJ mix support from Andrew Weatherall, and filled most of the pages in a 12-month diary with gig and festival requests. This expanded double-CD edition of The Silver Globe includes a second full-length disc called The Amber Light, which carves a niche between new age motivational music, radiophonic folk, and snarling krautrock, echoing the kosmische stylings of The Silver Globe with the punk urgency of '80s domestic synthpop. The Amber Light's four original songs are accompanied by three exclusive instrumental themes (including a commissioned theme from an American vampire film), and three collaborative re-workings/duets based on tracks from The Silver Globe, with co-production from Tom Furse (The Horrors), Andy Votel, Suzanne Ciani, members of Demdike Stare, and original Silver Globe inhabitants Pete J. Phillipson and Martin King. Substantiated by other deluxe editions, including a silver vinyl version of the The Silver Globe (EGGS 019LTD-LP), a series of compact cassettes, and a single release of standout robotic-roller-rink track "Don't Take My Soul" (as a split single with Bird label-mate Tender Prey (EGGS 020EP)), the Silver Globe/Amber Light project reciprocates the positive energy shared by Jane Weaver's loyal audience and a wide host of new converts who have allowed her self-sufficient songs and synthetic soundscapes to flourish. The Silver Globe is still turning.
"Originally released on Impulse! in 1971, Universal Consciousness is a major turning point in Alice Coltrane's momentous career. While her previous albums pushed the limits of spiritual free-jazz and featured much of her late husband's band, Universal Consciousness expands the harpist / pianist's compositional palette with organ and strings (working with Ornette Coleman). 'Oh Allah' is the finest example of Coltrane's new direction: tense violins dissolve into sublime organ solos and exquisite brushwork from long-time Mile Davis collaborator Jack DeJohnette. While the title track undulates with a fierce clamor, 'Hare Krishna' showcases Coltrane's uncanny ability for transcendent and slow-paced arrangements. In The Wire's '100 Records That Set the World on Fire,' David Toop writes, '[Universal Consciousness] clearly connects to other dyspeptic jazz traditions -- the organ trio, the soloists with strings -- yet volleys them into outer space, ancient Egypt, the Ganges, the great beyond. The production is astounding, the quality of improvisation is riveting, the string arrangements are apocalyptic rather than saccharine, the balance of turbulence and calm a genuine dialectic that later mystic / exotic post-jazz copped out of pursuing. Her lack of constraint was dimly regarded by adherents of '70s jazz and its masculine orthodoxies, yet Alice deserved better credit for virtuosity, originality, and the sheer will power needed to realized her vision.' This first-time vinyl reissue has been carefully remastered from the original master tapes."
Bureau B sees itself as a platform for exciting varieties of electronic, free-spirited music, ranging from pop to avant-garde. The label has amassed an impressive catalog of reissues and new productions, including electronic music classics from the 1970s and early 1980s popularly classified as krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, and Moebius, to name just a few. To provide an overview of the various musical styles in which Bureau B specializes, the label has created the Kollektion series. Kollektion 04 is curated by Richard Fearless, who listened his way through the label's entire (!) archive and now presents his own very personal selection from the catalog. Richard Fearless is best known as the leader and founder of British band Death in Vegas. German electronic music can be heard as an influence on many of his albums; indeed, even in his song titles, like "Sons of Rother." Richard Fearless has worked with Iggy Pop, Bobby Gillespie, Paul Weller, Liam Gallagher, and Hope Sandoval and has developed into a successful producer and remixer. "To me the bands and labels in the Bureau B archive, current and past, were looking to distant lands, their own 'Neuland,' whether in the future with bands like You and Riechmann, or from a more remote past, like medieval folk band Ougenweide. They were creating something radical and experimental, something that didn't draw on the same rhythm and blues, Anglo-American rock that was saturating the airwaves at the time. They were pioneers in every sense of the word. With all due respect for the music that forged these paths, it was on hearing the mental guitar on Faust's 'Herbstimmung' that I knew to look not only at the so-called golden years of this era, but to look at what these artists were doing later, as well as the new bands that were emerging from those schools. Artists who are still creating, still innovating. I hope you enjoy the journey" --Richard Fearless. Includes tracks by Phantom Band, Günter Schickert, Faust, Ougenweide, Riechmann, Asmus Tietchens, 39 Clocks, Der Plan, You, Sølyst, Moebius Plank Neumeier, Moebius & Beerbohm, Thomas Dinger, Moebius, Gregor Schnitzler, Kreidler, Cluster, Roedelius, Qluster, Pyrolator, Automat feat. Lydia Lunch, and Moebius & Renziehausen. Twenty-five tracks available as a double CD or spread across three separate LPs.
A specter is haunting the clubs -- the specter of ancient rhythms that have been wandering over this planet for millions of years. Jay Ahern and Stefan Schneider summoned this specter, and now it will not let them be. The truth is they don't want to part ways. Together they are Hauntologists, and together they unchain the ghosts in the machines. Coarse and physical; dark and sexually-charged updates of ancient rhythms -- and motorik, driven like a drummer in a time loop, improvised just like African street music. This analog, rumbling techno, shifting and layering meticulously, is simultaneously forward-looking and ancient, idiosyncratic and deeply-rooted. It all started with a chance meeting between Ahern (Add Noise, Cheap and Deep Productions) and Schneider (To Rococo Rot, Roedelius Schneider). Five EPs showered down to earth over the course of the following years, the results of concentrated studio jams during which the machines talked to each other while the Hauntologists did not do much more than mumble certain magic formulae and sprinkle some magic powder over the proceedings. Sure, these machines are those legendary X0X devices from that Japanese manufacturer with a name that starts with an "R." You can tell, but whatever -- that doesn't really matter. For the two Hauntologists these little boxes are just physical utensils to use during their rituals and ceremonies. They do not deny their sound-shaping characteristics. But they do avoid the clichés associated with them. So here it is: the first album. After the first five EPs, the Hauntologists album discloses further facets of the two Hauntologists, shadow images of bleeps and acid, sähkö and longing, all drifting and floating in and out of the mix. These tracks were created live, and their release comes in advance of their live invocation, continuing the live interaction and dialogue between two human beings. An invocation of ghosts from the past, reimagined in the present. These rhythms, they will never stop. CD includes two bonus tracks.
Anyone who follows American house music is aware of the art of Fred Peterkin aka Fred P aka Black Jazz Consortium. The New York City native is known for some of the gentlest soul-infiltrated four-to-the-floor house creations around. As a man who danced in his younger years in legendary NYC clubs like the Red Zone, Sound Factor, and Tunnel to DJ sets by larger-than-life selectors like David Morales, Frankie Knuckles, and Danny Tenaglia, he learned that sometimes less is more. And that he would rather listen to his heart and soul than to the susurrus of the music market. Most of his work as Fred P or Black Jazz Consortium has been released via his own label, Soul People Music; as Fred P he has also dropped 12"s on Jus-Ed's Underground Quality imprint and Toshiya Kawasaki's Mule Musiq, which now presents his album 5, released under the moniker FP-Oner. 5 is the first release in a planned trilogy focused on the jazzier, relaxed, atmospheric side of his artistically deep house expressions. Opener "In the Mist of Sunrise" seduces with a deep, heavy bass-line; moony, emotive chords; and a hint of a gentle piano melody, charming in its unfinished sound. It's followed by "Manifestations Taking Place," an emotive, deep, jazz-influenced track that could easily fit in his Black Jazz Consortium body of work. With "The Art of Regeneration" he pushes the beat for the first time. It is a simple sensation of a track, with an alien synth melody in the background, intermittent cool claps, and soft, seductive keys. From then on the album oscillates between uplifting and smooth sensations, and seduces with African percussion, serpentine melodies, jacking beats, emotive deep jazz moments, airy analog chords, ethereal synths, tinkling keys, lounging soul vocals, and dreamy atmospheres. A groove-based work of introspective, elegantly constructed house music that makes the listener feel entirely at ease, and solidifies Fred P's position as one of the great spiritual house masters of our time. Produced in Berlin and on the road in hotel rooms between New York City and Tokyo. The English poet William Blake once wrote, "He who binds to himself a joy / Does the winged life destroy / He who kisses the joy as it flies / Lives in eternity's sunrise." The poem suits the art of Fred P, as all his creations come to stay. CD includes three extra tracks.
"Martin Rev's (from Suicide) second long player finally in print for the first time in 30 years!!!!! 'It's like someone took an unreleased Suicide record, removed the vocal tracks, and replaced them with synth oscilliations, chirps, drones and explosions' --Opium Hum. Haunting second album of minimalist analogue synth experimentation from Suicide's Martin Rev. Never before pressed to vinyl in the States. Previously available as an import on French label New Rose. A killer follow-up to his debut LP reissued in 2013 by Superior Viaduct. For fans of: Suicide, Kraftwerk, Craig Leon, John Bender, Cabaret Voltaire, Silver Apples."
Romans (Gunnar Haslam and Johannes Auvinen (Tin Man)) follow their 2014 collaborative debut on Auvinen's Global A Records with Ambulare Aude, containing two murky, psychedelic, acid-etched cuts ("Emona" and "Delmenium") buffered by a gradually unfolding up-tempo floor-burner ("Coptos"). The result of extended improvisational jam sessions in Vienna and Brooklyn, the tracks have a slight aleatory air about them, as though both artists are being led down an unforeseen musical path, not entirely certain of where it leads. This culminates in "Delmenium," the record's B-side, a true techno journey featuring an emotional, metallic synthesizer coruscating against a melancholy background.
Saturn and the Sun is a duo of electronic and psychic tension made up by Gothenburg residents Joachim Nordwall and Henrik Rylander. As core members of ritual rock band The Skull Defekts, they have toured the world and released a hot line of records. On their debut as Saturn and the Sun, their common interest in harsh electronic music and deep drones is in the center of attention. Nordwall has run the iDEAL Recordings label since 1998 and has collaborated with people like Mika Vainio, Mats Gustafsson, and Mark Wastell (as Oceans of Silver & Blood). Rylander is crime scene photographer, conceptual artist, and former drummer of dangerous garage rock group Union Carbide Productions. Cover illustration by Savage Pencil. Edition of 100.
When John Coltrane played Pennsylvania State University on January 19, 1963, he was about a year into his stint as leader of what's been canonized as his "classic" quartet. With McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums, WDFM's broadcast of performances from this concert presented almost 70 minutes of imaginative improvisation. Besides Coltrane's own "Mr. P.C.," the program was dominated by extended reinventions of popular standards, including "My Favorite Things" and a 25-minute version of "Bye Bye Blackbird." Digitally remastered sound; includes background liners.
It can be justifiably said that without Rizan Said a good number of Syrian singers from the 1990s on might never have been heard -- most notably Omar Souleyman, who has collaborated with Said for two decades. Where synthesizers can bring a certain artifice and death to the sound of music, Said's torrential speed and flair on the keys bring new life to Syrian and Kurdish sounds, respectfully forcing the component sounds of folkloric dabke to the next level. This is the updated sound of the ages, with hand drums and reed flutes emulated and pounded out on Korg keyboards. Packaged in a poster sleeve with green foil cover; hand-numbered edition of 500. Liner notes by Mark Gergis.
No Broken Hearts On This Factory Floor
Shifting tectonic plates, as two island nations collide! London resident Jackson Bailey aka Tapes makes Jamaica-drenched lo-fi bass music, a forward-looking mix of dub, dancehall, and electro roots channeled and filtered through old-school rhythm machines, synths, spring reverb, and delay. Recorded with glorious grit on cassette, sometimes in the red, tape hiss intact but somehow sounding bigger, better and beatier than it should, with a sweet analog patina. There's an aquatic feel here on this first full album from Bailey, a rich brew of deep and soulful sunny JA roots, hints of UK melancholy and industrial smoke, even some icily funky NYC early electro. With an old island soul and a new ear to the future, this first album from Tapes features six previously unreleased tracks plus ten tracks previously issued on his own label and other labels, including Jahtari, in various formats, included here with remastered sound in previously unreleased mixes. With a total running time of 43 minutes, these 16 tracks are available on CD and double LP (45 RPM). UK, JA, NYC: all these letters, and more, spell Tapes. Front cover art by Jimmy Cauty (The KLF). Co-production of EM Records and Corner Stone Music.
German duo Funkstörung return from a ten-year break following their 2005 album The Return to the Acid Planet with their fourth album, arriving like a twisted Janus-head on a perfectly toned body. It's everything you've expected from glitch-hop's inventors and everything you have not. For those eagerly waiting for Funkstörung to deliver a new electronic innovation, like they did with their first record: this time they did not. Instead they do what they do best and take up the path they started to carve with Disconnected in 2004: luscious pop songs with heavy backbones and illustrious guests adding heartfelt vocals to a bed of fizzing basslines. It is a very vocal album, with guest singers on nearly every song, but they don't dominate the sound; they simply contribute to a fresh Funkstörung that has ripened a bit and been seasoned with a hell of a lot of flavor. Some of the voices on Funkstörung have been part of the family for a while; some of them, like Jamie Lidell, are new collaborators. But whether with old friends or newfound partners, each track on the album gets to the heart of electronic pop. As a whole, Funkstörung seems so well-balanced it's ready to be an instant classic. Its sunny vibes would go as well with a fine wine in front of a fireplace as with a plastic cup of beer and rubber boots at a muddy festival. Instead of concentrating on glitches and breaks, the two producers have put their effort into nurturing every sound to perfection; one can feel that nothing has been rushed, and each detail is in the right place. As Funkstörung put it, the album is about "evolution not revolution." Highlights include "Laid Out," featuring Anothr with a hook so big even your granny you won't get it out of her head for a week; and "So Simple," the collaborative effort with Lidell, whose smooth soul-crooning fits the chrome-glistening hip-hop beat like a velvet glove. The album also features contributions from Audego, Taprikk Sweezee, ADI, and Jay-Jay Johanson. Funkstörung comes in a beautiful sleeve designed by lauded graphic artists Zeitguised and Sebastian Onufszak.
Peter Zinovieff is one history's most enigmatic and influential electronic music composers. The EMS Tapes is the first complete retrospective of his earliest experiments in 1965 through to the dissolution of his studio and the bankruptcy of his company, EMS Synthesizers, in 1979. This deluxe two-CD set includes extensive liner notes, exclusive photos, and Zinovieff's own diary entries compiled by Sonic Boom aka Pete Kember. In 1964 Zinovieff sold his wife's wedding tiara to purchase the first computer housed on a private estate and converted his garden shed into the most advanced music studio in the world, housing 384 oscillators, as well as a collection of filters, noise generators, ring modulators, signal analyzers, and amplifiers. The center of the studio was the computer, which ran on on 8k of memory priced at £1/byte (£8000), allowing thousands of musical parameters to be sequenced several thousand times per second. Throughout the 1960s and '70s Zinovieff's studios became a place of pilgrimage for musicians looking to discover previously unheard sounds; Zinovieff's daughter Sofka recalls, "I'd be having tea in the kitchen with my two younger brothers, when people like David Bowie, Paul McCartney, or Pink Floyd would pass by on their way to the studio." Other visitors included Kraftwerk, Klaus Schulze, King Crimson, Alan Sutcliffe, Hans Werner Henze, and Karlheinz Stockhausen, to name but a few. Electronic Calendar begins with "Chronometer '71," composed in the form of a graphical score by Harrison Birtwistle and created from recordings of Big Ben and the Wells Cathedral clock, sequenced by Zinovieff's computer to a pre-determined structure that controlled tape machines in a system resembling an early sampler. The piece was created in the second iteration of Zinovieff's studio, which was also home to the world's first series of narrow filter bands used as a sound analysis system, recording the response of each filter to the applied signal; Zinovieff had created the world's first vocoder. The second CD opens with Zinovieff's interpretation of "Agnus Dei," followed by "ZASP," a collaboration with Alan Sutcliffe. In 1967 "ZASP" won second prize at the IFIP (International Federation for Information Processing) Congress; Iannis Xenakis beat it out for first place. The CD closes with the last piece of music recorded in the EMS studio before it was destroyed by a flood in 1979; aptly titled "Now's the Time to Say Goodbye," it features interview fragments of Zinovieff fading in and out.
Founded way back in '91, Z Records has since amassed a lauded and plentiful collection of singles, albums, and compilations. Run by Dave Lee aka Joey Negro, the label has enjoyed success through his unique ability to foster the principles of underground dance music while also remaining mindful of commercial appeal. Through various compilations, Mr. Lee has consistently delved deep into the heart of a specific genre or era and selected a lesser-known series of tracks that give real insight into the spirit and energy that made that point in time special. Whether it's been go-go, Brit funk, boogie, Italo house, or straight-up disco, he has mined deep into his extensive bank of influences and also enlisted the help of some of his most clued-in comrades in offering some unforgettable collections of classics. Now, he pulls together a collection of his favorite moments across a definitive decade for house and garage, the '90s. Inclusive of material from Kerri Chandler, Robert Owens, and MAW (as Voices) as well as remixes from Mood II Swing and Ron Trent, the compilation is packed with sultry vocal lines and the sort of slick, irresistible grooves that defined the era. Sticking with the ethos of his series, Joey Negro has dug out an olio of music that may have "slipped under the garage doors" until now, meaning a lot of the material on this compilation is digitized for the very first time. In searching deeper and wider than the average compilation, the package provides thorough insight into why this was such a fertile period for production and gives a nod to the sort of drum patterns, sampling techniques, and vocal lines that have inspired the likes of Bicep, Brawther, and Huxley, among many more. Available as a double CD (ZEDD 035CD) and as two separate double LPs (ZEDD 035LP and ZEDD 035X-LP). Includes tracks by Fonda Rae remixed by Mood II Swing, Voices remixed by CJ Mackintosh, Danube Dance, Janet Rushmore remixed by Kerri Chandler, Robert Owens, Station Q, A Bitch Named Johanna, Thelma Houston remixed by Joey Negro, Bougie Soliterre, USG remixed by Ron Trent, Gisele Jackson, Mateo & Matos, Leee John remixed by Mood II Swing, Kerri Chandler, Ralphi Rosario, and Mike Delgado. Double CD also includes tracks by Donnie Mark, Club 69, Michael Watford, Astro Trax, and B.O.P. featuring B.J. Crosby and remixed by Tommy Musto.
"Rocking soundtrack recording from Rain the Color Blue with a Little Red In It, a revolutionary story of guitars, motorcycles, cellphones -- and the music of a new generation. Original compositions from Mdou Moctar from the film about his rise to fame in the city of Agadez. From the raucous heavy psychedelic to the beautiful pentatonic sublime. Includes original compositions and reverb heavy intermission film score."
Tresor is fortunate enough to be sitting on a catalog of past releases that no other label in electronic music would turn down. Three of the finest in this collection were contributed by Surgeon; Basictonalvocabulary (TRESOR 10073LP), Balance (TRESOR 096LP), and Force + Form all originally came out on the Berlin institution between 1997 and 1999. Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland found its fullest expression in this masterful trio of releases on Tresor. Tresor have decided that it's high time to give these seminal albums another airing, and now presents a special three-CD box collecting Basictonalvocabulary, Balance, and Force + Form. The box set accompanies a series of staggered double LP reissues, and the original Remake 12"s that accompanied each album will also receive a similar treatment. These records include alternate versions by Surgeon, as well as contributions by Mick Harris. All material remastered in 2015 by Matt Colton at Alchemy Mastering, London.
Pieces (Original Motion Picture Soundtrack)
"You do not have to go to Texas for a chainsaw massacre!" The soundtrack for cult slasher movie Pieces (1982) is now available for the first time ever on vinyl. A plot filled with so many holes it's impossible to follow, chainsaws cutting heads left and right, downright terrible acting, hilariously absurd scenes, and a brilliant soundtrack -- Pieces is exactly what you think it is: one of the best movies ever made! Praised by the likes of Eli Roth (Hostel (2005), Inglourious Basterds (2009), Grindhouse (2007)...), this rare slasher has become a fan-favorite over the years and can be seen in horror movie festivals around the globe. Its original score is surprisingly elegant, full of eerie jazz, menacing synths, and soulful escapades -- a well-balanced mix finding its influences in giallo and blaxploitation soundtracks of the '70s and classic horror movie music of the '80s. This limited vinyl edition includes numerous songs by Italian composer Stelvio Cipriani, the man behind the superb soundtrack of poliziottesco movie La Polizia Sta a Guardare (1973) (the main theme of which was reborn in 2007 in Quentin Tarantino's Death Proof), multiple scores for Spaghetti Western movies starring Tony Anthony, and winner of a Nastro d'Argento award for best score for The Anonymous Venetian (1970). Also found on Pieces are compositions by Carlo Maria Cordio, who scored Joe D'Amato's gorefest Absurd (1981) (which some might know as Anthropophagus 2, Monster Hunter, Horrible, or The Grim Reaper 2), a movie so shockingly violent it became one of the "Video Nasties" of the UK and was successfully prosecuted under the Obscene Publications Acts in 1984. Lucio Fulci's frequent collaborator Fabio Frizzi (responsible for the music of classic horror movies Zombie aka Zombi 2 (1979), L'Aldilà aka The Beyond (1981), City of the Living Dead aka The Gates of Hell (1980), and the list goes on) also makes a special appearance with the sexy "Cocktail Molotov." Also included on the soundtrack are tracks by Stephen Ham & Alain Leroux and Enrico Pieranunzi & Silvano Chimenti, and, as a bonus, an audio recording of Pieces' original movie trailer!
LP version. Includes CD. The artists: Hans-Joachim Roedelius (piano), Onnen Bock (piano), Armin Metz (piano). The music: minimalist, spherical sounds by three grand pianos. Introverted, minimalist "classical" music has reached full bloom as devotees of the neo-classical movement flock to see the likes of Nils Frahm, Ólafur Arnalds, and Chilly Gonzales. One pioneer of the resurgence in minimal piano music is Hans-Joachim Roedelius, best known as a member of the avant-garde electronic combo Cluster. He released an album of solo piano (Wie das Wispern des Windes...Like the Whispering of the Wind) in 1986 (BB 066CD/LP), and has since issued numerous albums on which the piano plays a dominant role, either as a solo instrument or as a component in electronic collaborations, as with Stefan Schneider (To Rococo Rot), for example. Qluster was undoubtedly the most important collaborative project he was involved in. This spelling signified the group's third incarnation, having been founded under the name of Kluster in 1969 by Roedelius, Dieter Moebius, and Conrad Schnitzler. Schnitzler quit Kluster in 1972, leaving Roedelius and Moebius to carry on as Cluster. When the duo disbanded in 2010, Roedelius continued to fly the K/Cluster flag, this time as Qluster, joined by the keyboarder and electronic musician Onnen Bock. The duo again became a trio in 2013, when Armin Metz, an adventurous virtuoso on the bass, joined Qluster's ranks. Tasten can conceivably be described as the successor to the 2012 album Antworten (BB 077CD/LP), on which grand pianos played a similarly significant role. While Antworten featured singing bowls, Tasten is exclusively a piano work, one which sees the instrument used at times in unconventional, percussive ways, its strings plucked or stroked. Qluster explore the musical depths of three Steinway concert grands to their fullest potential. Spherical sounds of three overlapping instruments, complete with gentle tones and little melodies, sporadically culminating in impulsive sonic storms. A wonderful piece of neo-classical music by three masters of their art.
On this long-gestated follow-up to 2013's eponymous EP, Simon Pomery's Blood Music project continues to rage, syncing Taiko-inspired drumming patterns with vicious metal guitar dissonance and contact mic haptics. "Chicks" runs at a febrile EBM heartrate, pelting modular palpitations made alongside Russell Haswell against walls of guitar feedback-as-melody like a thuggish Keiji Haino. "Badgering" reengages the 'floor with improvised, squabbling electronics around rowdy drums and bugged-out vocal glitch, recalling Endless-era Pan Sonic and strobing Bunker acid parties. Luke Younger aka Helm's remix of "Chicks" uses electroacoustic phasing to reimagine the original's techno cravings and bring forward the original Taiko inspiration.
Dial Records celebrates its 2015 15th anniversary with a magnificent compilation. All (DIAL 032CD) offers a collection of exclusive works by long-related label artists and friends. Part 1 of the 12" edition features contributions by Stefan Tcherepnin, DJ Richard, Christian Naujoks, Pantha Du Prince, and Queens.
Working with a quiet intensity since 2003, Strategy has proven himself to be an incredibly resourceful and rewarding musician in both group settings and as a solo artist. In the latter guise, this Portland, Oregon producer/multi-instrumentalist (aka Paul Dickow) has released a prolific amount of excellent work for quality indie labels such as Kranky, Idle Hands, 100% Silk, Endless Flight, and Entr'acte, putting a cerebral yet sensual spin on dub, ambient, post rock, and house music. For his Further Records debut, Noise Tape Self, Strategy delves ever deeper into his more ambient inclinations and experiments with tape loops. Dickow says he became obsessed with making tape music in 2008, after tiring of using the computer as his main instrument. Fellow Portland producer/ingenious gear-tinkerer David Chandler (Solenoid) taught Dickow "how to make a tape loop that could be put inside a cassette tape. I got really into this, and got a 4 track, knowing this would allow me to have four synchronized loops per tape. I would then run each channel through a series of effects and 'perform' live mixes using the loops. I alternated between using source material of my own devising and using whatever source material happened to be on the cassettes I was hacking." Noise Tape Self kicks off with "Awesome Piano," in which a fragment of a beautiful piano motif gets overwhelmed by a glorious vortex of static and distortion. "Cassette Loop" is a gorgeous ambient piece with a lulling, aquatic quality that recalls such masters of uneasy listening as Rapoon, O Yuki Conjugate, and Aube. "Ominous Lovely Piano" is a ghostly, microcosmic form of dub, an ultimate kind of headphone music of deep psychedelic interiority that's reminiscent of Paul Schütze's 1996 masterpiece, Apart. The hypnotic/amniotic ambience of "Lovely Loop" whispers of a peaceful eternity; this track could be an important step toward a new, improved strain of new age. The album closes with "Rhen's Loop"; here's where the album really soars into the stratosphere and grows surreal wings. A five-dimensional headfuck of what sounds like analog-synth growls and whirs and desolate drones, "Rhen's Loop" is Doppler effected and disorienting, like a more somber take on Conrad Schnitzler's Ballet Statique (MINIMAL 004CD/LP). With Noise Tape Self, Strategy has found a way to build works of compelling, intimate grandeur with some of the humblest of sonic atoms. It's an alchemical wonder. Mastered by Pete Swanson and cut by CGB @ Dubplates & Mastering.
LP version on 180 gram vinyl; edition of 500 copies. Fatima's Hand is West Yorkshire based solo electric guitarist Dean McPhee's second full-length album and the follow up to 2011's critically acclaimed Son of the Black Peace (PTYT 047). Fatima's Hand is a meditative and quietly intense album combining influences from British folk, dub, Moroccan trance and ambient/drone. McPhee's sparse, melodic and echo-laden guitar playing on Fatima's Hand has been compared to Vini Reilly, Fripp & Eno and Loren Connors but his singular approach to the instrument is very much his own. Steve Barker of BBC Radio Lancashire's On the Wire program described Dean as "definitely one of the leading contemporary guitar stylists in the UK, and in the world". Fatima's Hand features cover art by Federico Cortese which is beautifully presented on a matte laminate sleeve.
A work of slowly evolving beauty that gradually unravels its meditative design. Recorded in 2013 in the mausoleum of Norwegian sculptor and painter Emanuel Vigeland (1875-1948) in Oslo, a recording space that is famous for its acoustics and its long and full-sounding reverb. These three tracks utilize both the delicacy and the power of acoustic instruments and human voice in relation to the unique recording space. Otherworldly and eerie but also with a great primal expressive force. Performed by four artists from different backgrounds coming together to create a singular set of music. Maja S.K. Ratkje: voice and bells; Jon Wesseltoft: accordion, organ, and harmonium; Camille Norment: glass armonica; Per Gisle Galåen: zither and harmonium. Recorded at Emanuel Vigeland Mausoleum, May 2013, by Thomas Hukkelberg. Mixed and mastered by Maja S.K. Ratkje. Artwork by John Brien. Photo by Gorm K. Gaare.
Double LP version. The vinyl version is structured with DJs in mind, and features eight club-leaning tracks over four sides. Post Scriptum 01 is the debut full-length album from anonymous producer Post Scriptum. This stunning full-length thoroughly outlines the sonic intentions of the project. Post Scriptum stands for rich, highly detailed modern techno electronics. References to Mills-School bleep and unearthly, sci-fi tones are clear to hear. The album features original photographs by Swiss mixed-media artist Julian Charrière, taken on-site at a former Soviet nuclear testing ground. The negatives were first exposed through the camera, and then laid on the radioactive earth where interference occurred, resulting in the highly textured end images. Parallels to the process can be drawn throughout Post Scriptum 01, where classic techno sound sources are clear to hear, alongside complex processing and a very original approach to arrangement that flavors and colors each track. With titles like "Interstellar Medium," "Decelerate At the Destination," or "The Extreme Distance," clear space-time themes emerge, evoking imagery of the ongoing human quest for survival, on this world, and eventually others.
John Barleycorn Reborn 2CD
Universal Consciousness LP
The Silver Globe (Deluxe Edition) 2CD
Live at Penn State '63 CD
We Can Yield Our Own Footsteps CD
Kollektion 04: Bureau B Compiled by Richard Fearless 2CD
No Broken Hearts On This Factory Floor CD
Dub from Jamdown - Darker Than Blue Conducted By The Senior Allstars CD
Live at the Record Plant CD
Electronic Calendar: The EMS Tapes 2CD
The Robinson Scratch Theory 2CD
Far Beyond, Before the Time CD
Harsh Realities, Broken Bones and Skull Tones Cassette
Akounak Tedalat Taha Tazoughai OST LP
Harry Mwale Experience LP