Radio is an audio compass; the radio antennae, a divining rod. Positioned anywhere, it opens an exclusive window directly into the location in which it sits. Signals received on the medium wave (AM) and FM bands reveal programming intended for a local population by governmental, independent, pirate, or corporate media broadcasters. Anything from low-powered ethnic minority transmissions, high-powered westernized pop stations, and omnipresent state-run radio can be found on these bands. Shortwave bands expand the breadth and scope, pulling in regional and international receptions. Everything received factors into the experience. Music, news, talk shows, advertisements, station IDs, cross-phased interference, errant or intentional static-generated sounds, distant detritus, and random broadcast anomalies all become equally relevant. This disc continues the Sublime Frequencies locale-specific radio collage series with Vietnamese radio recordings culled and assembled from signals received in Hanoi and Ho Chi Minh City between December 2013 and November 2014. Inside the 70-minute program are moments of outstanding folkloric, traditional, and pop music, including performances on the electric guitar and the dan bau (a one-stringed guitar-like instrument), eclectic Vietnamese folk and rock stylings, dramatic effects-laden radio theater and musical segues, new wave pop forays, traditional percussion and vocal chants, news segments, dynamic radio bumpers, jingles and advertisements, comedic interludes, phoned-in karaoke sing-a-longs, English-language programming, early-morning exercise regimens, and coded messages from the outer ether. The grand total sum of these radio recordings doesn't aim to present a certified ethnographic study of contemporary Vietnam. Rather, the material here aims to distill and replicate the excitement, engagement, and discovery gained during heavy exposure to Vietnamese broadcasts over an eleven-month period during the teenage years of the twenty-first century. CD comes in a beautiful digipak with full color images, a booklet, and liner notes by Mark Gergis, who recorded, compiled, sequenced, and produced the project for Sublime Frequencies on location in Vietnam.
Bali 1928, Vol. II Tembang Kuna: Songs from an Earlier Time
The second volume in World Arbiter's five-disc series of 1928 Balinese vocal recordings continues the first release of these recordings since they were first pressed to 78 rpm discs in 1929, the only commercially released recordings of music made in Bali before World War II. Originally recorded by a team from the German labels Odeon and Beka on a 1928 expedition to Bali and intended for a Balinese public that lacked any discs of its own music, many of these records have been reduced to single remaining copies by the ravages of time -- when the labels' warehouse manager learned that the Balinese didn't own record players, he destroyed the original discs in a fit of drunken rage. Now, after a decade of global sleuthing, World Arbiter has located a surviving copy of every known vocal disc that escaped destruction, even one slumbering under a pile at an east Balinese raja's palace. The unaccompanied singing has been restored to the point that the listener is practically sitting inside the masters' throats to experience their microtonal miracles. The lyrics, fully translated from several archaic and remote tongues and included in the liner notes, reveal intensely urgent erotic and romantic meanings. These extensive notes are supplemented with a 110-page PDF, including an in-depth essay by Edward Herbst, contained on the disc and available online. Arbiter will continue to release its complete recovery of 111 three-minute sides, with five discs planned for the series, and a complete anthology to follow. Fully funded by a grant from The Mellon Foundation. Includes performances by Ida Bagus Oka Kerebuak, Ida Boda, Ni Dayu Madé Rai, Ida Bagus Ngurah, Ni Lemon, and the duo of Idu Bagus Wayan Buruan & Ida Madé Tianyar.
When The Notwist returned with their acclaimed seventh studio album Close to the Glass in early 2014, many were enchanted by the epic instrumental track "Lineri." It was the only instrumental track featured on that album, but according to Markus Acher, the band's vocalist, instrumental works had an important role in the album. Indeed, while the band's members pursued solo projects between 2008's The Devil, You + Me and 2014's Close to the Glass, The Notwist also composed instrumental works for several theater productions and radio plays, some of which are compiled here as The Messier Objects. The collection obviously brings to mind the ghosts of library music and '70s soundtracks, but can also be heard as a summary of the band's ever-evolving musical cosmos. The 17 featured pieces range from sample-based electronic collages to the buoyant post-rock of "Das Spiel ist aus." Whether the band is experimenting with modular synthesizers, analog percussion, or even horn sections ("Object 11"), there remains a constant flow of gentle grooves that makes this open-minded collection more than just a companion piece to Close to the Glass.
Samba Touré's previous album Albala (GB 004CD/LP) was recorded during the fear-laden atmosphere of 2012, when northern Mali (including his ancestral village of Diré) had succumbed to sharia law and radical Islamist control and Bamako, his adopted home, still reeled in the chaos of the recent military coup. Albala received widespread acclaim and was rightfully recognized not only as the best album of Samba's career but also as an undeniable musical statement about the human toll of war and political crisis. Samba had spent years honing his artistry (including stints playing with Malian blues master Ali Farka Touré and Kora genius Toumani Diabate) and Albala signposted a mature artist, full of sonic imagination and narrative fire. Gandadiko, the title of Samba's potent, diverse and ambitious new album, translates from his native language Songhai as: "Land of Drought" or "Burning Land." The title seems to indicate a return to the dark textures that marked Albala but in fact Gandadiko is a more complex story than that. Touré is known to search for the seeds of his musical ideas in the assorted stack of CDs he listens to while driving through the chaotic streets of Bamako. The out-of-the-box musical inspirations he has picked up for his new album range from Serge Gainsbourg to Bo Diddley via Tom Petty to funky psychedelia, though of course, all the raw material is instinctually filtered through the traditional melodies and rhythms of his Songhai musical heritage. The songs on Gandadiko are in fact framed by a restless eclecticism. Samba's guitar-playing has never been so anxious, exploratory and rock and roll and his voice has never been as smooth and relaxed.
Roland Tings is Melbourne, Australia's jack-track anomaly with a penchant for acid coastlines and nebulous rhythms. Still fresh off 12" releases for 100% SILK and Club Mod, he dropped the acclaimed Who U Love EP (INT 027EP) in the spring of 2014, in anticipation of his debut self-titled album, now presented by Internasjonal. Forged by Melbourne's forward-thinking nightlife institutions, Tings made his debut in 2012 with the Milky Way EP on 100% SILK, the enigmatic dance imprint founded by Not Not Fun Records co-founder Amanda Brown. Having laid the groundwork of a raw-satin aesthetic inspired by those of Larry Heard and Robert Hood, Tings solidified his sound on Tomita's Basement, released in 2013 on Club Mod and featuring remixes from Maxmillion Dunbar (Future Times) and Jeremy Greenspan (Junior Boys). Functioning as club-ready oddities with neon finesse, his releases thrive as rhythmic visions pushing dancers into his very own modular oasis. Having toured across much of Australia and Europe, he's backed up headline club shows with appearances at MONA FOMA and The Meredith Music Festival as well as support slots for the likes of Tim Sweeney and Juan Atkins for Modular People's Sydney Festival showcase. Now riding with a tight community of Australian producers enjoying recognition around the world, Roland Tings's custom texture continues to fold into a vibrant late-night fabric, reflected in the skillful versatility of this debut album. The CD edition includes two tracks not included in the double LP version, "Venus" and "Pala."
Dennis Young is best-known as the marimba player/percussionist for the legendary early '80s NYC band Liquid Liquid. Reel to Real is a lovingly-assembled archive collection of his rare and unreleased solo recordings from 1982-1983. Dennis Young: "Back in 1982 at the age of 24 I bought my first recording equipment a -- two-track Teac reel-to-reel-tape recorder. I already owned a number of analog synthesizers, an electric & acoustic guitar, various effect boxes, and a full drum set. The music was recorded live over a two year period (1982-1983) when I was still playing in Liquid Liquid. I was busy with the band but I still found time at home to experiment with my own sound using various instruments and vocal effects. In early 1984, I bought my first four-track cassette machine which ended my live reel-to-reel recording phase. The tapes were boxed up and put into storage for the next 30 years. About six months ago, I was going through some old boxes and happened to find the tapes again. I was curious to hear what I had on those tapes so I purchased another Teac reel-to-reel-tape recorder. To my surprise there was a lot of music to choose from these recordings, so after hours of listening I came up with a set of songs that I thought was the best representation of my work from this period. Thanks to Staubgold, I am able to share this unique recording experience with you, the listener."
Holy Grail territory here from Andy Votel and Demdike Stare's mighty Dead-Cert imprint, who finally bring you this incredible album of previously unreleased industrial-themed recordings made in 1976 by experimental pioneer and Ennio Morricone cohort Alessandro Alessandroni. The concept itself is riveting enough -- the guy who provided that infamous guitar riff for The Good, The Bad and The Ugly (1966) delivering utterly bent and synth-heavy recordings previously unheard by the wider world -- but the material and execution is just nothing short of a revelation, unlocking an uncannily prescient suite of rhythmik pieces that sound completely dissimilar to much library music of the same era. Industrial perfectly encapsulates the heightened state of creativity in the mid '70s surrounding Alessandroni and his close peers Giuliano Sorgini -- together known as Braen Raskovich -- and Morricone, for whom Alessandro also famously whistled the theme to A Fistful of Dollars (1964). Recorded at Piero Umiliani's Sound Workshop in Rome, and made with an arsenal of EMS Synthi VCS3 modular systems, tape loops, and a treated Petrof grand piano, plus a bundle of string instruments, the industrial results (coincidentally issued the same year as Throbbing Gristle's debut release) present a pulsating take on this kind of music, breaching tightly-coiled motorik systems and mood percolators with atonal strings and viral oscillations. Most importantly, the sense of minimalist efficiency and the clarity of the recordings are shocking, pushing the envelope of electro-acoustic music and pre-empting the early notions of an entire genre movement. Artwork by Anthony Shallcross. Liner notes by Shallcross, Jr., aka Andy Votel. Limited to 500 copies.
Despite having independently released the first punk rock single on the US west coast, Crime's legend has never spread beyond a comparatively small but extremely adamant cult. The fact that they only released three singles during their existence is certainly a factor in the lack of recognition afforded them. Probably more significant is the fact that Crime's music and image set them apart from what soon became discernable as the typical punk rock scene. The amphetamine blues lead guitar bursts that responded to the vocal lines in nearly every song, as well as the frequently dispassionate vocals, set them apart from the bandwagon-jumping art-schoolers (who were all too often devoid of rock and roll attitude), as did their carefully cultivated look and their anti-social attitude. Crime compiles the complete recorded legacy of the band fans have come to refer to as San Francisco's first and only rock and roll band. It includes three facsimile reproductions of Crime's original singles and four more 7"s featuring ten tracks recorded from 1977 through '79 and unreleased at the time, among them a "Be Bop a Lula/Peggy Sue" medley unavailable elsewhere until now. The records are accompanied by a 20-page booklet with an extensive band interview by Michael Lucas, photos and memorabilia, plus a special text written by film director and Crime fan Jeff Feuerzeig (The Devil and Daniel Johnston). Includes a CD with all 16 tracks.
2015 repress. LP version, purple vinyl. Originally released in 2001. Bravery, Repetition and Noise is a dark, dreamy album, rich in atmosphere, layered in waves of sound. The album's antecedents are clear, inspired by psychedelia as they were by punk's nihilism, pulling both strands into a doom-laden, experimental sound quite distinct from anything that had come before or since. Brian Jonestown Massacre uses this as their touchstone, lovingly re-creating the moods and atmospheres of the past.
Born and raised in east Detroit, Jimmy Edgar played raves in the city alongside techno's founding fathers during his mid-teens. By age 18, after conducting ambitious recording experiments, he'd signed to Warp Records. Edgar later established the Ultramajic imprint with fellow electronic auteur Aden. Fresh material from the label provides the backbone for FabricLive 79, and selections from Patrice Scott, DJ Godfather & DJ Starski, and Kris Wadsworth thread the music of Detroit through the mix like a seam. Also includes tracks by Edgar (including a collaboration with Truncate and a track featuring DJ Rashad), Terrence Dixon, POL Style, Vin Sol & Matrixxman, L-Vis 1990, Danny Daze, and Crystal Bandito. Packaged in bespoke slipcase containing die-embossed tin.
After an intense one-on-one dialogue with Heather Leigh regarding Golden Lab Records' mission to present beautiful records that showcase styles of guitar in all their extremities, Golden Lab is delighted to deliver what is, without question, an absolutely blinding example of just such a record. Leigh recorded Nightingale direct to cassette, delivering one of those performances in which the pedal steel rages so hard that the vocals never have the opportunity to even make an appearance. Recorded in glorious mono and mastered to really bring out the harshness of those insane tones, Nightingale captures an almost tape-like quality in the pedal steel itself, and its transfer to vinyl only warms it up further into a new zone of somehow cozy metallicism. This is an absolute joy -- a real tear-yr-face-off record that sort of acts as a companion piece to Leigh's 2014 performances with Stefan Jaworzyn as Annihilating Light. 140-gram vinyl presented in a black and silver matte sleeve and limited to 250 copies.
LP version. "Irreal, the fifth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence -- hazed dub landscapes give way to the group's most experimental and open music yet. If their last album Era confirmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity -- it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It's a master class in texture, pace, and control. Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void."
"Over the course of several months, Áine O'Dwyer was given access to the pipe organ in St Mark's Church, Islington, while the cleaners were at work. Primarily a harpist, this was a rare opportunity to grapple with the 'king of instruments' and apply her sense of melodic, structured improvisation in a new context. Since it's impossible to exert complete control over such a recording environment, she entered into the sessions with a Cagean mindset, embracing extra-musical sounds. This gave the recordings a unique character and concept. With the door left open to serendipity, it can seem that the sonic environment coalesces in sympathetic harmony. Here, the synth-like whoosh of the vacuum cleaner, a child's laughter, various echoed clatters and chatter become part of the music. Improvised music is inevitably influenced by the presence and expectations of an audience... Áine capitulates to the 'request from the ladies' by not staying 'on one note for a long time,' but already did 'bring music' -- that is, the graphic score reproduced in the gatefold. At the end, we can hear that even the recording device itself is subjected to the relentless advance of church cleaning. The album is multifaceted and conceptually satisfying in many ways. It's simultaneously a series of solo improvisations, a site-specific piece of performance art, rich in chance elements, and even qualifies as a field recording, where the transcendent and menial meet. Despite the absence of cheers and applause, it's also a live album. In this new extended incarnation, it becomes almost a kind of minimalist opera, with a subtle plot of polite contention softening amid curiosity about the trumpet that takes us out of this most concrete of recordings with a single psychedelicized blast. Metaphysical themes are hard to avoid using an imposing instrument traditionally intended to inspire them. The titles hint at Áine's meditative concerns while playing. Here is an Irish lapsed Catholic mind (as Cranley told Dedalus) 'supersaturated' with the religion it rejects: the double meaning implicit in 'church cleaning,' the forbidden 'deep sounds,' the pensive, often brooding hue of the music itself, heavy in every sense. Throughout I hear the dark depths of thoughtfulness, warmth, and mischievous wit that is quintessentially Áine. Originally released as a cassette on Fort Evil Fruit [in 2012], this expanded vinyl edition features new artwork and doubles the album's length, making for a truly immersive experience" --Paul Condon. Includes download code; housed in a gatefold sleeve.
2015 limited vinyl repress. Double LP version.
LP version on 180 gram vinyl. Bureau B presents Cluster's USA Live, a 1996 recording of Cluster's first tour of the USA. This release consists of tracks from Purple Pyramid's 1997 CD First Encounter Tour 1996, reworked and reselected in collaboration with the musicians and presented on vinyl (for the first time) and on CD. Includes new artwork. "The US recordings are loud and impassioned. Some tracks are really loud, the mood is frankly disquieting. Tonal differences aside, this takes us back to Cluster's musical frame of mind in the early 1970s. Given the vast expressive repertoire on which Moebius and Roedelius could draw from almost twenty years of relentless experimentation, perhaps this ought not to surprise us. Furthermore, as artists of the moment, they are able to respond flexibly and immediately to the ambience, the situation, their own condition. Something in the USA was fundamentally different to Japan. On the evidence of the US live recordings we can surmise that the USA tour was anything but introspective. As if Cluster were intent on proving that they were neither purveyors of cozy ambient electronica nor producers of new age muzak. The way they played America was completely unpredictable, sometimes even chaotic. Expansive passages switch abruptly with rhythmic stretches, raw noise erupts in quiet places -- Moebius and Roedelius pull out all the stops. It all amounts to quite an ordeal for the audience, possibly even disappointing one or two listeners in the process. But Cluster's music was always multifaceted, so surprises were never far away. The USA live album does not escort the listener to bright, mellifluous swaths, but to rugged, karstic regions, no less a part of Cluster's world. It is an uncomfortable album with rough edges. Still, it is a good thing that Moebius and Roedelius used these forceful improvisations to conclude their journey together for the foreseeable future. Cluster bid farewell to their listeners twice in 1996: softly and almost lost in reverie on Japan Live (BB 174CD/LP), then not long afterwards they went out with a bang on First Encounter Tour/USA Live. Once again the two musicians had shared the full spectrum of their artistic visions. Alas, a double goodbye does not make the split any easier. Fast-forwarding into the next millennium, however, we are happy to hear the cry: Cluster ahoy!" --Asmus Tietchens.
Gatefold LP version on 180 gram vinyl with download code. Samba Touré's previous album Albala (GB 004CD/LP) was recorded during the fear-laden atmosphere of 2012, when northern Mali (including his ancestral village of Diré) had succumbed to sharia law and radical Islamist control and Bamako, his adopted home, still reeled in the chaos of the recent military coup. Albala received widespread acclaim and was rightfully recognized not only as the best album of Samba's career but also as an undeniable musical statement about the human toll of war and political crisis. Samba had spent years honing his artistry (including stints playing with Malian blues master Ali Farka Touré and Kora genius Toumani Diabate) and Albala signposted a mature artist, full of sonic imagination and narrative fire. Gandadiko, the title of Samba's potent, diverse and ambitious new album, translates from his native language Songhai as: "Land of Drought" or "Burning Land." The title seems to indicate a return to the dark textures that marked Albala but in fact Gandadiko is a more complex story than that. Touré is known to search for the seeds of his musical ideas in the assorted stack of CDs he listens to while driving through the chaotic streets of Bamako. The out-of-the-box musical inspirations he has picked up for his new album range from Serge Gainsbourg to Bo Diddley via Tom Petty to funky psychedelia, though of course, all the raw material is instinctually filtered through the traditional melodies and rhythms of his Songhai musical heritage. The songs on Gandadiko are in fact framed by a restless eclecticism. Samba's guitar-playing has never been so anxious, exploratory and rock and roll and his voice has never been as smooth and relaxed.
Phil Julian is a UK-based sound artist, composer, and improviser active since the late 1990s, with a prolific output under both his Cheapmachines alias and his own name. His work encompasses sonic textures ranging from harsh squalls of noise to hyper-minimalistic timbres and drones. Studio recordings and live performances within Europe and North America have focused on the use of electronics, particularly unstable and/or chaotic systems, e.g. modular synthesizers, feedback, contact microphones, objects and surfaces, and computer-based works. Julian recorded TRACE at Elektronmusikstudion in Stockholm during his Guest Composer residency in 2013. Using a combination of EMS's vintage analog equipment and various computer processes, Julian recorded and mixed the material on TRACE specifically for diffusion over the Audiorama 17.4 surround sound system, custom built and installed inside the decommissioned torpedo workshop on Stockholm's island of Skeppsholmen. "Open Form," which takes up the A side of the release, is made up of much shorter pieces recorded over the two week residency. "Corona" is an improvised piece using only analog electronics and "Arrival" uses a custom computer patch alongside a complex set of processes running on the huge EMS Buchla synthesizer. The recordings combine the dynamics and space associated with modern composition and electroacoustic works with the density and abrasive qualities more often encountered in noise and contemporary computer music. Sleeve photography by Eddie Nuttall. Mastered by Joe Panzner.
Formerly known as Al'Tourettes and one half of R&S's ALSO (alongside Appleblim), Alec Storey unveiled his Second Storey project in 2013. "One Sound" is the second single from his 2014 debut LP Double Divide (HTH 031CD/LP), and intertwines Second Storey's electro and bass music influences over six restless, bouncy minutes. Exclusive track "Layer Lock" is equally frenetic, but echoes IDM in its micro-melodies and unconventional structure. Luke Vibert provides a sampladelic version of "One Sound," adding splashes of color in the finest cut 'n' paste style. Cristian Vogel transforms "Layer Lock" into a delightful and confounding shape-shifting head-nodder.
...The Dub Album They Didn't Want You to Hear!
"Totally killer previously unreleased dub companion LP to Flick Wilson's School Days LP. Jah Life was no slacker when it came to mixing dubs, and sat in with Scientist at King Tubby's for the mixing of many of the classic Junjo/Radics/Scientist albums. But more importantly, they also mixed a ton load of dubs for Jah Life himself, many of which, like this album, remain unreleased... until now! Nine out of ten tracks from the Flick Wilson album are dubbed here, and one track from the Wayne Jarrett's What's Wrong With the Youths album. Classic Scientist 1980-style mixing, nothing else like it, hard stuff. Cover features a fantastic previously unseen photo from Beth Lesser."
With this collection, one of the major pioneers of microtonal composition in the 20th century receives an extensive and long-overdue tribute. Czech composer Alois Hába (1893-73) systematically used tones located in between the chromatic steps regularly used in occidental music. In his manifold contributions to the leading genre of string quartet, completely documented in this edition of four CDs, Hába splits the whole tone into regular half-tones, as well as into quarter, fifth, and sixth tones. The intriguing musical effects resulting from this method are realized here by the Frankfurt-based Hába Quartett. A listening adventure par excellence!
"Known for occupying the fringe of the Takoma roster alongside Craig Leon and Charlie Nothing, multi instrumentalist Phil Yost recorded two classic albums, Bent City & Fog-Hat Ramble, for the label before releasing his third, Touchwood's Dream, on his own. Using Soprano Sax, Flute, Bass, Guitar and Percussion, Yost creates a unique form of Psychedelic Folk-Jazz that reflects the natural beauty of the San Francisco Bay Area he called home. Euro Import with Paste-on covers."
Ontario Hospital is a collaboration between Dave Foster (Huren, Teste, etc.) and Rich Oddie (Orphx, Oureboros, etc.). Future Ready is a four-track EP that conflates their histories in noise, power electronics, industrial techno, and rhythmic noise and marries all methods together into a ritual assault. There are lots of adjectives to describe this music and you've heard them all before so just skip the bullshit and listen. Each record ships with a vial of bull hormones.* *This is a lie.
The second part of Thomas Melchior's Meditations series.
"On 36 Seasons Ghostface once again delivers exactly what the hardcore Wu-fans crave: desperate tales from the dark side over soulful boom-bap tracks. The soundscape is provided The Revelations [Brooklyn's acclaimed soul band/production team]. Their hard-hitting tracks match the intensity of Ghost's violent narrative. His co-stars on 36 Seasons are legendary lyricists and storytellers in their own right, 3 of the greatest of all-time: AZ, Kool G Rap and Pharoahe Monch. The album also features vocal contributions from Blue Note Records' rising star Kandace Springs and gritty soul singers Rell and Tre Williams."
LP version. For 18 years now, the electronic duo Klangwart have self-confidently occupied their very own niche between avant-garde and pop. Markus Detmer and Timo Reuber, the two "elder statesmen" of neo-Krautrock, have since become regarded as the most authentic heirs to the psychedelic sound gurus of the '70s. Titled Transit, their new album after Sommer (STAUB 099CD) is a real masterpiece: nine tracks of otherworldly beauty -- energetic, organic, unpredictable. Thousands of sound-snippets are assembled into a kind of vegetative music. Pulsing beats interact with weightless, floating sounds. Everything is in a constant flow -- sometimes in slow-motion, other times at a tearing pace. Transit stays at any time highly concentrated and dense. The longest track clocks in at only five minutes -- unusual for Klangwart. The production by sound guru Joseph Suchy appears almost three-dimensional, whereupon space is an equal element of composition. That's cosmic music for the 21st century.
Nonplace Soundtracks: Scenes 01-25 CD
Bali 1928, Vol. II Tembang Kuna: Songs from an Earlier Time CD
Solo and Ensemble Works CD
Quand on N'a Que L'Amour CD
J'ai Rendez-Vous Avec Vous CD
Complete String Quartets 4CD BOX
...The Dub Album They Didn't Want You to Hear! CD