The last time Fennesz released an album on Austrian label Mego it was 2001 and the name of that release was Endless Summer. Now, in 2014, Editions Mego is extremely proud to release the conceptual follow-up to that landmark of abstract pop. Bécs (pronounced "baeetch") is Hungarian for "Vienna" and is the first full-length Fennesz solo release since 2008's Black Sea (TO 076CD/LP). Eschewing the more drone-oriented works of Black Sea, Bécs returns to the more florid pop mechanisms as deployed on Endless Summer. "Static Kings" features the extra leverage of Werner Dafeldecker and Martin Brandlmayer, who deploy a range of atmospheric abstract effects to shape a bewitching sound-world. The 10-minute centerpiece "Liminality" (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. "Pallas Athene" creates a sanctuary of hovering beauty which leads into the title-track. Emotional and assured, the track "Bécs" is an astonishing contribution to contemporary pop. "Sav," co-written by Cédric Stevens, (aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where on the closing "Paroles," a gentle melody unravels amongst swirls of electronics and fried disruption. Bécs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature. A singular work by a singular artist. All tracks by Christian Fennesz, except *by Cédric Stevens & Christian Fennesz. Modular Synthesizer on "Sav" by Cédric Stevens. Bass on "Static Kings" by Werner Dafeldecker. Drums on "Static Kings" by Martin Brandlmayr. Drums on "Liminality" by Tony Buck. Recorded & mixed at Amann Studios, Vienna, 2013/2014. Tony Buck's drums recorded by Martin Siewert at Garnison7, Vienna, July 2013. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, February 2014. Cover design by Tina Frank.
The collected recordings of legendary lost 1970s New York City band, Jack Ruby. Seen and heard by just a precious few, Jack Ruby made only five studio recordings and played an equal number of gigs between 1973 and 1977. None of their music was ever released and, until now, they have existed solely as a word-of-mouth legend among peers. Yet their legacy and influence can clearly be heard in bands that followed in their wake like Sonic Youth and Teenage Jesus And The Jerks. They have been variously described as "The Velvet Underground in a car crash" and the "art-punk Steely Dan." Formed in 1973 by vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, classically-trained viola player Boris (also known as Boris Policeband), and later joined by bassist George Scott (James Chance And The Contortions/8-Eyed Spy/John Cale) and new vocalist Stephen Barth, the first incarnation of Jack Ruby demoed two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit and Run" -- sounding like some unholy blend of Raw Power-era Stooges, Velvet Underground and J.G. Ballard's Crash -- and a bizarre number entitled "Mayonnaise," based around Boris' amplified viola and primitive electronic "beats" sequenced on Cohen's Serge synthesizer. These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Three more maniacal songs of arch art-punk with killer pop hooks -- "Bored Stiff," "Bad Teeth," and "Sleep Cure" -- were all recorded in one five to six hour session at Columbia Studios in May 1974. With Cohen patching musique concrète sounds through the Serge, set against Gray's banshee guitar-playing and Hall's snotty vocals, the Jack Ruby sound was formed. But a record deal evaded them. Cohen left and started a new career as a writer for Late Night With David Letterman and, later, as The Ethicist, a columnist for The New York Times solving readers' ethical problems. In 1976, Hall and Gray reactivated Jack Ruby as a live-performing unit with George Scott on bass. They played harder, faster and louder than any other band in New York at that time. Their rehearsals at Matrix studios, and dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray and Scott, became a cult draw for other NYC punk and no wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, by now the only original member, taking over vocal duties for a couple of shows alongside Teenage Jesus And The Jerks and the Fleshtones, before disbanding for good after one last riotous show with new vocalist Stephen Barth at Max's Kansas City, formerly stalking ground of the band's idols, The Velvet Underground. Hit and Run is a two-disc set of everything Jack Ruby recorded between 1973 and 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although 40 years-old still sound thrillingly urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974 -- nine short tracks that play like a library record, book-ended by two longer ones -- some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music -- hidden for decades, now-revealed -- constituting a previously-unheard secret history of the New York City music scene of the early 1970s.
Visibility Is a Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix. Though recorded after Will to be Well, the tracks on Visibility Is a Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While "Information Is Forever" and "A Change of Attitude" are firmly in the ambient mode, "Active Discovering" fizzes with arpeggiated energy and a battery of percussion disrupts the calm surface of "Sight of Hirta." Something is up. All is not as it seems.
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).
RSD 2014 release. "Alexis Zoumbas' expressions of longing are so raw and unmediated that I suspect anyone who has ever yearned for anything -- who has ever gazed dolefully out a window, or sighed audibly over a cup of whiskey, or felt subsumed by a certain kind of ache -- will feel these songs like a club to the back of the knees. They are immediate, destructive, and stunning. That Christopher King was able to collect and contain them for us is an extraordinary gift." --Amanda Petrusich; Years of research and obsession have resulted in this, the first collection of recordings by the legendary and masterful Greek folk violinist Alexis Zoumbas. Very few pre-War musicians have tapped deeper into the human soul than Zoumbas and this volume presents his most profoundly hypnotic and unearthly pieces. A deep set of notes is accompanied by previously-unpublished photographs as well as original artwork by R. Crumb. Respectfully crafted by Christopher King and Susan Archie for Angry Mom Records. Deluxe triple-gatefold packaging.
2014 repress of the first Darkside release, originally released 2012 (both tracks are exclusive non-album material). Dave Harrington and Nicolas Jaar are Darkside. This EP begins innocently enough, but as it progresses, it feels like searching for pleasure where you know you shouldn't. The beat in this clandestine affair has just enough restraint, and you know the catharsis is worth the sin. "...from dreamy electronic music inflected with impressionist piano, gently digitized French singing, lobby-jazz, and cave sounds to the terse, rugged dub-funk of Darkside, all while still sounding totally Jaar: nocturnal, cerebral, sensuous, paradoxical, and intuitive." --Pitchfork (8.0)
"Coconut Hotel hails from 1967, when it was recorded for International Artists in the wake of the international success of The Parable of Arable Land. Too far out for its day (!), Coconut Hotel was eventually issued on Drag City in 1995 and features the original Red Crayola at their most extremely experimental, while still retaining the air of whimsey ('One-Second Pieces') that permeates all their releases."
"Five years after the second life of Death was started with the release of their revelatory 1976 album, For the Whole World to See, Death III slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching, in high-fidelity, rich bottomed, studio-grade sound. Alongside songs from 1975, 1976 and 1980, Death III contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they'd stopped playing together. Death III serves as a companion piece of sorts to the A Band Called Death documentary, tracking the band's movement from spiritual young rockers to older and wiser, bruised-but-undefeated brothers, in pure musical terms."
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."
Sound Houses is an album that sees Walls exploring the sonic archive of the late Daphne Oram -- composer, inventor and founder of the BBC Radiophonic Workshop. Oram's otherworldly sonic experiments with synthesis and music concrète primarily in the 1960s were decades ahead of their time, her musical legacy unjustly overlooked until recent years when the increasing fascination of modern culture with all things analog has cemented her status internationally as a pioneer and key figure in the development of electronic music and the recording studio. Anglo/Italian electronic duo Walls were permitted to select choice recordings from Daphne's voluminous tape archive of sounds following a commission from the BBC -- these fearsome otherworldly drones, alien FX and violin and cello-esque tones were harnessed, shaped and sculpted into new forms, with additional augmentation of further synthesizer wash, guitar loops, found sound and treated voice by Walls to create unique new pieces of music that join the dots between 1960 and 2013. Indeed, the duo through their reading discovered Oram's fascination with Sir Francis Bacon's noted tract from 1640 "Wee also have sound houses," which Oram had pinned to the wall of the BBC Radiophonic Workshop wall for inspiration. In his prophetic piece, Bacon predicts some of the workings of the modern studio, through flights of fancy and the idea of transformation of sound -- ideas which ring through the years still today. "We found the poem immensely alluring and inspiring" explains Walls' Sam Willis, "the language is so magical it really resonated with us in its primal, and imaginative description of sound." The resulting album, Sound Houses is a unique splicing of Walls' modern/vintage sound palette with Oram's 1960s futurism to create an unprecedented sonic journey for the listener. First pressing limited to 500 copies on clear vinyl.
Following the successful Blackwood Dub from 2012 is the next chapter in the relationship of Sly & Robbie, producer Alberto "Burur" Blackwood of Slam Records and Groove Attack. Again, studio time was booked at the legendary Harry J Studio and recordings started with Mikey Chung, Radcliffe "Dougie" Bryan, Daryl Thompson, Robbie Lyn, and Uziah "Sticky" Thompson -- but be warned -- the album features a set of 10 tracks of analog recording sessions and is a special listening experience for real -- Underwater Dub. CD includes a 6-page leporello booklet.
RSD 2014 release. If we would have to name one thing Kompakt's fans have been consistently asking for, it's a vinyl version of The Field's legendary first album From Here We Go Sublime: originally rolled out in 2007, this much-acclaimed full-length debut of what was to become one of the most celebrated projects in Kompakt's artist fold saw a regular CD edition and an accompanying 12" sampler -- but never a full vinyl release. Enters Record Store Day 2014 and the perfect opportunity to finally present this stunning masterpiece the way it deserves. Axel Willner aka The Field joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt's classic '90s projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine. Called a "techno pop landmark" by Pitchfork, From Here We Go Sublime almost immediately became a cult favorite, starting a trend that continues to this day -- as can be seen with The Field's most recent full-length offering Cupid's Head that has been lauded by critics and crowds alike. The most striking feat of From Here We Go Sublime must be its sonic cohesiveness, debuting a fully-formed artistic vision that -- seven years and three albums later -- hasn't lost any of its luster. As a fixture in The Field's discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else... except himself. Giving you a feeling of warmth and familiarity on first listen that you can't quite grasp, it's like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it all starts here. Pressed on 180 gram audiophile grade vinyl, including a CD version of the album.
Enjoy the Silence Vol. 3
LP version. A touch of classical music, left-field electronics, ambient love affairs, and discreet dubby house emotions without a kick drum: the third installment of Mule Musiq's famed Enjoy the Silence sampler serial swings gentle, tricky, and multidimensional. This time, the atmosphere focuses on avant-garde textures with a touch of very diverse genres and styles. Koss, Lawrence, and DJ Sprinkles aka Terre Thaemlitz are part of a dove-like sound cruise that allows you to be in many spaces and places at the same time. Beside them, some new names appear like Vermont, Recondite, Petre Inspirescu, and John Roberts, delivering musical voyages that seem to be produced by unique subconscious decisions and not by assembly-line craftsmanship for art. The sampler kicks off with Hauschka and his composition "Wind," an arrangement in which the prepared piano player from Düsseldorf converges two dulcet melodies into a soulful arch of sweetness. Right after this sublime piano gem, the Romanian producer Petre Inspirescu melts classic and electronic into a tempting maelstrom that celebrates the freedom of leaving blanks. The very special magnetizing quality of his music can be felt twice. His second contribution seduces with starry-eyed violins, piano minimalism, and pulsating electronics. Koss plays profound piano and lets it flirt with glockenspiel, wind instruments, and softly-wiped drum brushes. The only remix work on Enjoy the Silence Vol. 3 is produced by the magic mind of Terre Thaemlitz, who re-edits a track by young Japanese artist Daisuke Masuo aka Primula into a deep, absorbing melancholic ambient piece which bedevils with a variety of submerging and emerging sounds. Recondite's track "Corvid" could be the main soundtrack theme of a futuristic psychedelic Western in a world with little light and loads of romantic hope. The freshly-formed duo Vermont, consisting of Innervisions artists Marcus Worgull and retro-futuristic German house pioneer Danilo Plessow aka Motor City Drum Ensemble, serve up "Leerer Rat," a playful crescendo arrangement guided by an airy feeling for Krautrock-ish proportions, an instinct for space melodies, and an emotional language between two souls spoken during sonic adventures on vintage analog synthesizers. The most nervous seducer on the compilation comes from John Roberts, who let trumpets, piano, and violin dance with fidgety percussions. Producers Roman Flügel and Lawrence mainly avoid classical approaches to ambient music in their compositional contributions. Even if the former touches on some classic atmospheres with his track, the stretched sounds and melodies in it are determined by a more typical ambient magic. The latter delivers a dub-loving tempter that comes around with a little hint of house while letting spheres of magical tones freewheel. Altogether, here are 10 tracks by nine children of Brian Eno, Cluster, Arvo Pärt, and Steve Reich, who all express something honest and unsophisticated while using their machines and instruments in a heartfelt way.
Product of Industry
Double LP version.
Tracks: "Fortress (The Hague, 2005)," "Caustic Network," "Kovaxxxt," and "Situation."
2014 RSD release. "Vinyl reissue of the 1975 Smithsonian Folkways LP. These a cappella performances from the North Carolina folksinger were recorded by musicologist John Cohen. One of the rarest records in the Folkways catalog, this LP reissue is presented with original artwork and booklet insert, housed in a deluxe Stoughton 'tip-on' jacket, as a limited edition of 1000."
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).
Seven Reasons for Tears CD
A Lament for Epirus, 1926-1928 LP
Silbernes Ich (Raritaten 1981-2014) PIC. DISC
La Freiheit des Geistes CD
Wohlauf (Maxi Version) 12"
Ed Banger Classics 5x10" BOX
Politiken der Frequenz CD
Farben Presents James DIN A4 CD
Frijsfo Beats Volume 4 12"
Taang! Records: The First 10 Singles 10x7" BOX
Rockers at King Tubby's CD
Dub Kings (King Jammy at King Tubby's) LP
Gilson et Malagasy 4CD BOX
Rocksteady Hits the Town LP
From Here We Go Sublime 2LP+CD
Playing Guitar The Easy Way CD
Open Up Your Colouring Book CD
Enjoy the Silence Vol. 3 LP
Schizzi di Orlando Furioso CD
Permanent Vacation Classic Vol. 1 12"
Une Petite Musique De Nuit LP
Ronde matutinale à Amillis/Berenice LP
When Silence Was Sound 1977-1980 CD
Lost in the Chase/Dampfer 10"
Rhythm Is Only One EP 12"
The End of an Old Song LP
That Ska Beat!: Made in Jamaica 1962-1966 CD
Do the Rock Steady 1966 to 1968 CD
Turkish Freakout: Psych-Folk Singles 1969-1980 2LP