"Harald Grosskopf was in his early twenties when LSD 'blew [his] reality away,' as he recalls. Born in Hildesheim in 1949, he had previously drummed in fairly conventional rock bands, most recently for Wallenstein. Their label-boss Rolf-Ulrich Kaiser was fond of facilitating jam sessions for musicians on his Ohr und Pilz label, often supplying his 'cosmic couriers' with LSD (unbeknown to them, on occasion). In one such session, the drug inspired something of an epiphany in Grosskopf: 'There I was playing the drums when, in the midst of my euphoria, I realized that I had been imitating other drummers. Suddenly a voice spoke to me: stop trying to sound like Billy Cobham or Ginger Baker. From that moment on I felt liberated, free to drum without having to shine in a particular role.' Having discovered his own musical identity, Harald Grosskopf understood that a standard rock combo was not the ideal conduit through which to express it. Grosskopf: 'I was completely in thrall to electronic music and the total freedom that it offered. This was the music I wanted to create. I knew it would be a success, the energy levels were so high.' Grosskopf consequently left Wallenstein. 'I fell into a hole at first, wondering what I was going to do. So I sold my prized drum kit and used the money to buy a guitar, amp and echo device.' A few days later, the doorbell rang. It was Manuel Göttsching, on his way back to Berlin from a tour of France. They knew each other from Berlin's electronic scene and recording sessions for the likes of Ash Ra Tempel. Göttsching invited Grosskopf to sign up for his new project Ashra and the rest is history: Ashra (Grosskopf, Gottsching, Lutz Ulbrich alias Luul) released a series of successful albums in the years that followed. It was not until the summer of 1979, however, that he finally felt ready to release a solo album. Synthesist comprises eight instrumentals, recorded largely by Grosskopf on his own. His melodies, carried along by synthesizers and drums, were reminiscent of works by Berlin electronic friends such as Klaus Schulze and Tangerine Dream, as well as those 'cosmic' sessions of the early 1970s -- yet each melody retains a unique timbre. Synthesist is thus regarded as a classic by electronic music enthusiasts all over the world, evoking a thrilling musical era of the past with equal capacity to excite today." --Christoph Dallach
Still Living in Slavery is Mr Raoul K's third album. It is, however, the first one that will be released on his own label, Baobab Music. He thought for quite some time about how to shift the African instruments and African rhythm structures that he uses in his production process into a more dominant, more exposed position, so he gave them a role of their own, freeing them from being bound to a groove coined by a four-to-the-floor kick-drum. While using dominating drum sounds when producing records aimed for the dancefloor seemed reasonable, they weren't needed for the storytelling concept throughout this album and are left to the remixes. As usual, Mr Raoul K worked together with artists from Africa, and on this record, Hamed Sosso, Sona Diabaté, Batakali A.K. Tenekdash and Adama Conde present their skills. His friend Kuniyuki Takashi demonstrates his talent on the flute and provides some piano, too. This album deals with aspects of inner and outer slavery. It is known that people -- whether knowingly or not -- often get into habits that start to limit their possibilities and narrow their view. Slavery is no longer people put in chains by others, but people put in chains by themselves. But only one group of the enchained will admit to their chain. Mr Raoul K's other concern is to share traditional African grooves and sounds with an audience that hasn't experienced this kind of music before. He presents an authentic surrounding that provides the listener with the chance to fall in love with the unusual rhythmic patterns, without getting trapped in neo-colonial-folkloristic stereotypes. This album stands against cultural hegemonism and commits itself to getting together without prejudice.
Echospace introduces the launch of echospace [detroit] archival editions, a special edition series focused on the rare, historical works of Deepchord. The long out-of-print Deepchord catalog has since been remastered and is finally available again. It's been a lengthy and timely process restoring old analog tape, DAT and cassette recordings (some dating back to 1994), all of which have been carefully resurrected from the vault of Detroit's revered NSC Studio. The long out-of-print catalog has been remastered, mixed, and once again bounced down to tape to ensure the best possible listening experience. Great measures, focus and time were spent to preserve the analog warmth and sonic integrity of the original masters. For those who don't know, these releases are considered by many some of the most inspired and influential sounds to emerge from Detroit well over 10 years ago -- a blueprint was set here for many artists to come, a step in the evolution. Expect gorgeous plumes of sound deeper than the ocean floor -- a rich analog tapestry made in the heart of Detroit, Techno City. Tracks 1-4 culled from DC07 (2000); Tracks 5-8 culled from DC08 (2000); Tracks 9-12 culled from DC09 (2000).
One of the most intriguing artists on the Hospital Productions roster, Lussuria came to prominence with the release of three tapes as part of the American Babylon series in 2012 which were eventually compiled into a double vinyl edition in 2013. His opiated atmospheres brought together the ritualistic appeal of late '70s and early '80s Italian industrial music crossed with the claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil. Having been in the works through late 2013 and in post-production for several months since, Industriale Illuminato is in some respects the first release by Lussuria conceived as a standalone album, and is perhaps his most unique, unsettling body of work to date. Inspired by Deconstructionism and an overriding sense of anxiety, the album revolves around the dislocated narrative of album opener "Boneblack," a dense and evocative fade into shadowy realms inspired by composer Giacinto Scelsi and the enigmatic mind-tricks of Alain Resnais' Last Year at Marienbad. "Petra Marina" sees Lussuria use real drum sounds alongside electronic ones for the first time, layered through with odd, foreboding drones constructed out of handmade Japanese music boxes, feedback manipulation and mangled tape loops which together sound like an industrial, shadowy counterpart to the hazy nostalgia of Boards Of Canada. "Venus in Retrograde" was inspired by and evokes the paranoid narrative of Francis Ford Coppola's The Conversation, making use of snatches of barely tangible dialogue to form an unnerving backdrop, before "Breath of Cinder" brings the first half of the album to a close with field recordings made in deepest provincial France overlaid with a detached narrative evoking that cold, abandoned landscape. The second half of the album takes us further into this airless environment, the intriguing widescreen ambience of "Eyes of the World" offset by the percussive rattling and decimated 3 pinch harmonics of "Angelshare," while "Wind Carries Soot" recalls the aggression of Mika Vainio sedated and tamed into an altogether more narcotic kind of beast, before "Art of Veins" closes the album with a mangled and inverted message -- like some kind of Satanic directive embedded for posterity.
Spiritual Jazz 5: The World
Subtitle: Esoteric, Modal and Deep Jazz from Around the World, 1961-79. Until it was swept aside by the pop explosion of the 1960s, jazz was the most popular modern sound on earth. From the New World and the Caribbean to Africa, across the Soviet Bloc and the British Empire to the Far East, jazz music was embraced, adopted, played and enjoyed. Having examined spiritual jazz as it was expressed in the U.S., and followed its messengers and influences in Europe, this fifth installment of Jazzman's Spiritual Jazz series presents jazz from the rest of the world: a collection of jazz messages hailing from the four corners of the world that are united in their diverse treatment of the jazz idiom. Jazz might have been the music of America, but in its beginnings it was not a purely American creation. The long story of its development stretches across the Atlantic, from Africa to the crucibles of slavery in the Caribbean and the Americas, both North and South. It was a music that ultimately emerged from the varied and resilient cultural achievements of Africans brought to the New World in bondage, and who brought with them a multiplicity of musical traditions. Evolution and development continued and, like a dandelion dispersing its airborne seeds via the wind, the sounds of jazz were carried around the world on the airwaves, record sales and by travelling musicians. In whichever continent the form took root, the individual, ethnic and cultural circumstances of the musicians decided the flavors and nuances of the jazz they created. This volume of Spiritual Jazz presents some of the rarest and most extraordinary global jazz recordings. Jazzman have covered some of the wider world's best known yet still underexposed jazz scenes -- places such as Argentina and South Africa, as well as some of the world's most obscure. There are recordings here made for major labels, and recordings issued privately. Very few of them have seen any release outside of their country of origin prior to this collection. But all of them speak of a period when jazz was a global musical lingua franca, spoken with ease by musicians who headed out into the night to produce their own distinctly local translations. This is esoteric jazz, modal jazz, spiritual jazz -- as played by musicians from around the world. All tracks fully licensed and digitally restored from the original master tapes. Comprehensive liner notes with added individual notes on each track and original stories direct from the musicians involved. CD includes a 16-page color booklet with in-depth liner notes, album cover scans and previously-unpublished photographs.
travelog (Special Extended Edition)
travelog was the third EP released by Mat Steel and Mark Fell as SND, arriving in 1999 just before the release of their influential debut album Makesnd Cassette on the Mille Plateaux label. Of the three EP reissues in the series, travelog contains the most developed and satisfying work from the pair, edging their reduced production palette into more fully-realized dimensions, coloring-in those instantly-recognizable bass notes and isolated percussive elements with a slow, sublime trickle of melody. The six extra tracks included are indispensable -- extending the original EP into an hour of mesmerizing, slowly immersive rhythmic pulses that still sound pretty much unlike anything you'll have heard before -- a perfect bridge between house, techno and UKG re-imagined within a stripped structure that should act as a masterclass for a new school of producers trying to balance out rhythmic complexity with space. The opening A1 encapsulates this asymmetry brilliantly, bare swing and shuffle riding chiming chords that add warmth and space to an already intoxicating blueprint, while A3 takes those same elements and sharpens them into a slow, undulating alignment bolstered by that immaculate mastering treatment from Rashad Becker. B3 takes things deeper -- a slow percussive edit slowly drowned-out by a growling analog drone, while the closing side joins the dots between this EP series and that trio of albums for Mille Plateaux that would soon establish SND as the most forward-thinking and still resolutely original producers from an otherwise largely-forgotten musical era.
The supernal singer Salif Keita, groundbreaking guitarists Kante Manfila, Ousmane Kouyate and Amadou Bagayoko (now famous as half of Amadou & Mariam), saxophonist Moussa Sissoko, organist Idrissa Soumaoro, and the extraordinary bala-xylophonist and fiddler Keletigui Diabate -- they (and as many others) were all in the great West African band called Les Ambassadeurs. They came together from several bands from four different countries (hence their name) in Bamako, Mali, in 1970. The man behind this all-star ensemble was a high-ranking officer in the military junta that governed Mali. He was eager to affirm his influence by entertaining VIPs at his favorite hangout, the Motel de Bamako, located among shady mango trees along the Niger River, and to succeed he needed an attraction at least as strong as the Rail Band, which was in residence at the popular Buffet Hotel adjacent to the city's central train station. Les Ambassadeurs immediately created a sensation with their skill at various styles, including Afro-Cuban, jazz, R&B, rock, and modernized Manding classics, and in 1973 the Rail Band's star vocalist, Salif Keita, left the Buffet Hotel to join his peers at the Motel de Bamako. In the mid-'70s Les Ambassadeurs were the pre-eminent Malian band, releasing hit after hit, touring West Africa, and even making appearances in France. The new Sterns Music 2CD album includes 18 recordings made by Les Ambassadeurs in Bamako between 1975 and 1977 (before politics compelled them to relocate to Abidjan, Ivory Coast, where they became known as Les Ambassadeurs Internationaux). Most of these tracks have never previously been reissued on CD, and two of them -- Radio Mali live recordings -- have never been released until now. The album booklet contains illuminating notes, rare photographs, and reproductions of LP covers.
Early Lou: Pre-Velvet Underground Recordings 1958-1965
Tracks: The Jades ("So Blue - Leave Her for Me" single, 1958), Lewis Reed ("Your Love - Merry Go Round" 1962 Demo), The Primitives ("The Ostrich - Sneaky Pete" single, 1964), The Intimates ("I've Got A Tiger In My Tank", 1965), Donnie Burks ("Why Don't You Smile Now", 1965), Lou Reed ("Heroin" Demo Pickwick Studios, 1965), The Roughnecks ("You're Driving Me Insane", 1965), The Beachnuts ("I've Got A Tiger In My Tank - Cycle Annie", 1965), The Surfsiders ("Little Deuce Coupe - Surfin'", 1965) and The All Night Workers (" Why Don't You Smile Now", 1965).
Blast First Petite re-release Tokyo trio Nisennenmondai's forth studio album, N. Nisennenmondai is the world's best-kept secret among noise rock enthusiasts. Since the Y2K bug of the band's Japanese-translation-namesake was still a thing (Nisennenmondai means "computer bug problem of 2000 year"), the instrumental trio has been spinning post-punk, no wave, and Krautrock influences into something fresh and surprisingly danceable. N's three tracks are as minimalist as their names ("A-1, "B-1″, and "B-2″) and the album title infer. The notion of songs, standout or otherwise, is irrelevant here, for N is a journey meant to be taken from start to finish and without detour. Nisennenmondai's latest trip begins with an urgent loop that is promptly joined by a tight, pounding rhythm, and soon the specter of guitar dissonance drifts in and out. Throughout the rest of N's 40 minutes, a series of clattering guitar textures enter the fold, as bass rhythms and drum patterns rise and fall with a subtle, yet irresistible, hypnotism. All the while, drummer Sayaka Himeno steadily maintains repetitions for impossible lengths of time, easing into progressively more rapid-fire rhythms. Nisennenmondai's arrangements spellbind the listener, the entire album unfolding as one piece, all without ever becoming tedious. N is a fascinating mass, repetition as concept becoming an unofficial fourth band member. The album consistently transitions into new, raw grooves, each instrument following the same pattern for several minutes before drifting seamlessly into a new one without interrupting the flow, the others drawing attention away at the appropriate time. Nisennenmondai master subtlety on N, reigning the chaos into a hypnotic drone. N was originally issued in 2013 on Japan label Bijin Record and previous Nisennenmondai releases have consisted of a live album and some singles that are impossible to track down. To date only one of their previous albums were freely available outside of their native Japan (2008's Destination Tokyo on Norwegian label Smalltown Supersound).
Remember I Was Carbon Dioxide
LP version. 180 gram pressing. Includes CD of full album. Yes, you can actually hear it. Respect. There it is, in the very first track on the new Camera album, a little sound signature elegantly woven into the hypnotic maelstrom of the music, contiguous to "From the Outside" -- like a distant echo -- Kraftwerk's revered "Autobahn." Which brings us directly to Krautrock, that perennial badge of hipness. The ultimate honorary title for repetitive music, as played by Camera. In fact, the Berlin band's penchant for playing without permission in underground stations or other public places (in the gents at the Echo Awards ceremony) has seen them dubbed "Krautrock Guerilla." Nevertheless, the Krautrock label remains just that, slapped on to rescue nameless music from limbo, vainly searching for a pigeonhole. Camera are not seeking to emulate the sound of older Krautrock bands, in any case. Nor have they been listening incessantly to NEU! or Can. "Perhaps we just have the same angle of approach," suggests keyboard player Timm Brockmann, "we start playing and simply go with the flow." Motorik-driven, energetic stretches laced with psychedelic overtones rise up from keyboards, drums and guitars, much as they did for the pioneers of German Krautrock some 40 years ago, without any sense of imitation or facsimile. The band does not even imitate itself. That would amount to nothing short of a moratorium, restricting their advancement. When it comes to principles, the principal objective is progression. Their commitment to playing anywhere and everywhere reaches beyond spontaneous concerts on the streets of Berlin. All the world's a stage. On the back of Radiate! (BB 116CD/LP) their debut album from 2012, Camera extended their range to Russia and the USA. While Radiate! was entirely the product of studio improvisation, Remember I Was Carbon Dioxide sees Timm Brockmann and drummer Michael Drummer revisit and revise jams supplemented by various different guitarists and other guest musicians, exploring the possibilities of the studio as a reflection loop without losing sight of their overriding impulse to improvise -- which is, after all, the essence of Camera. One hears a hypnotic beat. A musical drift that sweeps the listener into a trance. Shimmering elegance, forceful bursts of garage rock, a gentle flow, spherical flight. And one can hear it resonate beyond the horizon of this music. Searching, researching, yearning. Camera have the resolve to search and explore -- listen to "Hallraum," for example, the closing track on their new album -- they have an appetite for beauty, to play around with it a little. You can still call it Krautrock, if you must.
The next release on Diagonal is the latest album from Texas-based demolition artist Craig Clouse aka Shit & Shine. Titled Powder Horn, it follows-up Clouse's 2013 Diagonal debut 12", which channeled his shape-shifting sound into sharp shocks of mangled club music. On this new album, his first full-length since 2012's Jream Baby Jream, Clouse voyages still deeper down his own sonic wormhole. Its raucous slabs of deviant funk, wiry disco and burnt-out acid are sculpted to soundtrack strung-out dancefloors and their seedy early-hours aftermath, yet they still bear crucial traces of Shit & Shine's history in noise rock. Drums bound, crash and detonate to drive the music forward in fits and starts, their sound veering from the chest-busting thud of a techno kick to the hollowed-out clatter of a live punk band. Writhing acid lines do battle with taut, spidery guitar motifs, wrenching the momentum abruptly sideways. "Hiss" is bare-chested post-punk, strutting across the stage, caked with sweat and fizzing with static interference. Deeper into the night, "Acid Minor" wrenches up the gear to explode into full-bore acid techno, with Clouse repeatedly hammering the brakes and triggering space itself to distort around you. This provocative yet playful approach has long been a defining characteristic of Clouse's music. Over the past decade he's gained a reputation for Shit & Shine's remarkable live shows -- mesmerizing blasts of rhythmic noise featuring multiple drummers -- as well as a string of albums exploring starker noise rock and industrial-infused sounds. His recent shift towards more club-centered music, then, makes sense. Both Powder Horn and his previous Diagonal EP further hone his fascination with the energizing effects of rhythm on the mind and body, while retaining the unpredictable and confrontational nature that's always made Shit & Shine such a wild proposition. CD includes three bonus tracks off of the DIAG004 12".
Causa Sui returns with a third round of mind-bending jams featuring Ron Schneiderman! The savage, kaleidoscopic improvisations of the quintet's previous two volumes instantly gained reverence among fans of free-flowing Krautrock and detuned stoner rock, and this brand new addition, recorded in the late summer of 2013, fulfills the group's potential entirely. The Krautrock grooves, the low-end heaviness and the sprawling furor is still very much present -- but this set is also permeated by a rare free jazz sensibility, at times recalling American masters of improvisation such as John Coltrane and Don Cherry in spirit. Ferociously experimental, yet absolutely welcoming and corporal. "Incipiency Suite," which takes up the entire B-side of this record, stands as the high pinnacle of what this group is capable of with the inclusion of Ron Schneiderman: an afternoon of spontaneously-recorded parts, cut-and-pasted into an abundant whole by studio wiz Jonas Munk, creating a unique interplay between in-the-moment improvisation and creative studio editing. History: Ron Schneiderman (aka Pewt'r) from American impro-rock collective Sunburned Hand Of The Man first got together with Danish stoner/Kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania -- Copenhagen's autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely-admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel. In the early summer of 2009, Ron Schneiderman was back in Denmark, this time for a three-week stay as co-curator of the art-and-music event Festival of Endless Gratitude in Copenhagen. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in Pewt'r Sessions 1 and 2. The group got together again for a performance at 2012's Roskilde Festival and later again at Festival of Endless Gratitude in the summer of 2013. It was during the latter sojourn that Pewt'r Sessions 3 was recorded.
"When Don Fleming was doing the initial transfers of the tapes we'd gotten retrieved from Randy Cohen's barn, every evening seemed to bring a new surprise. But nothing was a bigger jawdropper than the material which makes up the second LP of our Jack Ruby archival series. The central core of the album is the 16 & a 1/2 minute track, "Destroy/Lost," recorded at the band's rehearsal space in January '74. Robin Hall vocalizes and Boris plays electric viola, but the bulk of the piece is screaming analog synth weirdness from Randy Cohen's Serge synthesizer. According to Robin, the track was recorded in hopes that it might be pared down to a single. Hard to imagine how the hell it might've been done (or in what universe), but it is a masterpiece of long-format insanity -- with Boris and Robin providing a context for the massive gallumping of the Serge. Additional players appear on some of the shorter tracks -- new music/free jazz saxophonist, Pete van Riper, on "Lithium Serenade"; Boris's electric viola on "Hydrogen Lullaby"; Chris Gray's guitar on "Mandible Mambo"; Rich Gold's Serge joins Boris' strings on "Ghost Note." The rest is the product of Randy's whacked-out compositional notions and his mastery of the Serge's patch-cords. Some of the material was recorded pre-Jack Ruby at Cal Arts (where Randy and Boris first met). The rest was from a performance in New York in early '74. Heard as a whole, it is a bizarrely shaped piece of the pre-punk/free-form puzzle that was Jack Ruby. Buckle up. It's going to be a bumpy ride." --Byron Coley; Includes download card. Edition of 600.
This collection of recordings by Richard H Kirk is now released as a 3xCD box set by Die Stadt, in association with and under license from Intone. The box set contains the three albums for the first time on CD: Richard H Kirk's Reality Is Opposite (guitars, breakbeats, electronics and digital interference in the sound of insurrection), Orchestra Terrestrial's Umladen classical analogue mood music) and Richard H Kirk And The Arpeggio 13's Anonymized (minimalist analogue arpeggio workouts). All three albums were recorded between October 2010 and December 2011 and were strongly influenced by certain events happening in the UK and across the globe (with an ear and an eye to the news media) as cities around the world were in turmoil. Starting with student unrest in London in November 2010, the Arab Spring in December of 2010 and full on rioting later in London again in August 2011 after police shot and killed an unarmed man. The streets were on fire again and it seems they continue to burn as pockets of unrest erupt globally. Richard H Kirk is a co-founder and now sole member of electronic music pioneers Cabaret Voltaire and in 2013 he celebrated 40 years as an audio/visual artist.
2014 repress. Twenty-one fully restored tracks from Kourosh's original master tapes presented as a deluxe 6-panel full color gatefold 3LP set. Includes a 24-page full color booklet with an extensive, first-person treatise by Kourosh himself, plus rare photos and ephemera of Iran's '70s rock scene, many never before seen. This vinyl version features 21 tracks from the 30 track double CD version. Subtitled: Pre-Revolution Psychedelic Rock From Iran: 1973-1979. "The only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them -- along with key ephemera from the '70s. Their collection here bolstered by Kourosh's first person recollections of Iran's '70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late '60s and early '70s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them."
III (pronounced /el/) is Daichi Yoshikawa, Paul Abbott and Seymour Wright. This recording includes two bare 20-minute excerpts from separate performances at Café OTO. Daichi Yoshikawa (feedback); Paul Abbott (drums); Seymour Wright (alto saxophone). gjerhan began from subterranea, sweat, haze and dedication emerging out of intimate and intense weekly meetings begun in 2009 -- their first, 2012 public performance, squeezed into a London basement was a sheer, vexed and exhilarating smack of organic, heterodyning ideas, and taut, low-beating lumps. Reemerge/revanish: With the economy of familiar/traditional raw tools feedback, drum-kit, alto saxophone, time, space and emotion, III move from molten musical pasts to grow future pleasures in sound. The ingredients are familiar, but the listening is not: At its heart is a still, undecorated concentration fuelling an extreme testing of limbs, language and order. This has no concern with collapsing difference into a vogueish, flattened mass-froth, but searches -- forensically, ceaselessly -- for something to chew, in the challenge of discretion and integrity or asylum in the body of its instruments. Akilsakilan learning, Doughnut: Finding, twisting and hammering out an expanding musical universe balanced only by its own logic -- III have few obvious comparisons. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out. Perfectly reasonable.
New songs for eternity by Alan Abrahams aka Portable.
Five years after founding Le Révélateur, Montreal-bred musician Roger Tellier-Craig returns to Root Strata with Extreme Events, a collection of dense sonic studies that betray a futuristic and timeless beauty. Alongside collaborator Sabrina Ratté, who creates the project's videos and live visuals, Le Révélateur operates at the ideological intersection of audio and visual, analog and digital, nostalgic and anticipatory, human and machine. Extreme Events is characterized by complex rhythmic asymmetry and twinkling aesthetic resonance -- ultimately a prescient re-vision of hypothetical cyberpunk futures realized in the desert of digital decay and burgeoning artificial ecologies.
Arve Henriksen stumbled across the title of his latest album while reading a book about furniture-making. "The author mentioned the complexity of making a chair and all the people involved in the process," the Norwegian trumpet player says. "The high quality of the different fields and the wide range of professions that, after a long process, turns into a product which can easily be compared to the process of making this album." The Nature of Connections finds Arve working in harness with some of Norway's most distinguished and dynamic musician-craftsmen, drawn from the fields of folk, improvisation and jazz. Each one brought specialist components and skills honed over many years to Arve's workshop, where the results were assembled and polished to a high gleam. The Nature of Connections almost entirely features pieces composed by Arve's collaborators. Recorded in the sparkling acoustics of Oslo's legendary Rainbow Studio by Jan Erik Kongshaug, it's an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve's previous releases. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a specially commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in The Nature of Connections. Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Masqualero, JoKleBa!, Generator X, Terje Rypdal and Jon Balke. "The brilliant thing about collaboration with others is that your collaborators very often have better ideas than yourself," says Arve, typically modest. "At the same time, some naive and simple ideas from my head are sometimes enough to illustrate that moment and that special feeling of a story. I have gradually started to trust that feeling." His instincts are correct, leading to some of the warmest and most organic sounding music of his career. Highlights include the solemn chamber music of "Seclusive Song," and the stately progress of "Hymn" -- composed by Arve's keyboardist partner in the long-running Norwegian improv ensemble Supersilent, Ståle Storløkken -- which paces itself around Henryson's repetitive, gently churning cello. Born in Norway and currently living in Sweden, Arve Henriksen is Scandinavia's most distinctive trumpeter and improviser. He played in various jazz ensembles in his youth before co-forming Supersilent in 1997, a prolific free music group with Helge Sten (Deathprod) and Ståle Storløkken, which is still ongoing. His trumpet, augmented with effects and electronics, has appeared with David Sylvian, Terje Rypdal, Nils Petter Molvær, Jon Balke, Terje Isungset and Iain Ballamy's Food. With Supersilent he recently collaborated with former Led Zeppelin bassist John Paul Jones. In September 2014 he'll be participating in an architectural installation/performance as part of Oslo's Ultima Festival of contemporary music. Since 2001 he has created a series of exquisite solo recordings (on Rune Grammofon and ECM), which combine electronic textures, horns, woodwinds, ethnic instruments, percussion, keyboards, and his mournful, yearning singing voice. Henriksen's music reflects both the stunning beauty of virgin wilderness and the shifting, cosmopolitan environments experienced by the 21st century traveler. The Nature of Connections is the latest link forged in an ever-growing chain. Arve Henriksen (trumpet, piccolo trumpet, piano); Nils Økland (violin, Hardanger fiddle, viola d'amore); Svante Henryson (cello); Gjermund Larsen (violin, Hardanger fiddle); Mats Eilertsen (double bass); Audun Kleive (drums).
Much-anticipated wasted, slimy, speed-freak vortex of polluted proto metal 7" from Swedish degenerates Skogen Brinner. Here's a new one to pop your bubblegum! Fucked-up globby, glippy, fuzz guitar action. Crude, drunken, stumbling vocals. Rhythm section bonking holes in your eardrum. Cheesy Z-movie electronics. Hard rock glam junk sausage out the wrong end. Limited edition and housed in a blazing art sleeve with insert.
2006 release. The selection of music here is comprised of a cappella choirs and songs accompanied by string instruments. Except for two guitar tracks and one oud track, the string instruments are all lyres -- chepkongo, kipukandet, thum, litungu. The strummed lyres sound very guitar-like, at times positively post-punk, and then the wonderful buzzing bass sound of the plucked thum, with strings made of cow tendons, and an array of beautiful traditional vocal styles. Includes the famous song "Chemirocha." Historical recordings by Hugh Tracey. Includes a 24-page booklet.
The composer and sculptor Aaron Taylor Kuffner is well-known for co-creating the Gamelatron project in 2008, the world's first fully-robotic gamelan orchestra. In 1997, Kuffner created another musical project, Zemi17. The success of the Gamelatron Project put Zemi17 on indefinite hiatus until The Bunker dug out one of Kuffer's last surround-sound live sets from Unsound New York in 2012 and asked him for a 12" of that material. The Bunker is proud to release these two long and seductive tracks made entirely of sounds of insects, birds, motors and urban noises spliced together with treated samples of gongs and metallophones to create lush techno compositions.
LP version. "Reissue of Smoke Dawson's 1971 private press LP, Fiddle. George 'Smoke' Dawson played banjo in MacGrundy's Old-Timey Wool Thumpers with Peter Stampfel (later of Holy Modal Rounders) in 1960, lived for years at Caffe Lena in Saratoga Springs, NY, and roamed around the US as an itinerant bagpipe and fiddle player for decades. His life is laced with small triumphs, and lots of tragedy. But he's still with us. Tompkins Square reissues his only album, a remarkable 1971 private press LP. This is his story. Excerpted notes by reissue producer / Tompkins Square label owner Josh Rosenthal : 'I was doing some research for a box set of music recorded at Cafe Lena, the hallowed folk music venue located in Saratoga Springs, NY, when I came upon a photograph of a musician I didn't recognize. He looked like a sixth member of The Band - a handsome fiddler with wax moustache, goatee, black Western hat. There was a traditional air to him, a seriousness, but there was also something wild there. I needed to know who he was, and everything about him. The producers told me his name was Smoke Dawson, and they had tape on him. We listened, and his live version of 'Devil's Dream' made it onto the box set. Then I started digging. I found a 1996 blog post from someone named Oliver Seeler, who claimed to have recorded a solo album by Dawson in 1971. I called the number on the site, not expecting much from an 18 year old blog post. But he picked up. He gave me background on the record. And, he gave me Smoke Dawson's phone number...'"
"This legendary private press is rated as one of the ultimate local basement hard rock blowouts by many connoisseurs. Released as early as 1970, the end result has some similarities to MC5's hallowed Kick out the Jams." --Acid Archives
New York-based conceptual artist James Hoff returns to PAN with Blaster, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions. Hoff's interest in computer viruses lies in their ability to self-distribute through (and ultimately disrupt) networks of communication and Hoff's agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. Blaster is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes its way through social networks, reduced to bits and programmed to infiltrate and replicate. "Viruses, like art, need a host. Preferably a popular one." Interested in ways in which the virus works could mutate and spread socially, the first side of Blaster contains these sonic presentations, and the second houses all of the artist's infected samples and serves as a scratch record for DJs, an object of utility, and ultimately a provocation, mobilizing its new hosts as a point of potential transmission. Blaster is a logical progression from Hoff's PAN debut LP How Wheeling Feels When the Ground Walks Away, which dealt with aural documents of riots and disruptions, and the record is part of a larger body of work by the artist that also includes virus paintings.
The Best Of Muddy Waters LP
Recorded Live at Sing Sing, Vol. 1 LP
Moanin' in the Moonlight LP
You Got My Mind Messed Up LP
Hope from Rikers Island LP
Psych Funk 101 (1968-1975) 2LP
Gesualdo: Madrigals for Five Guitars CD