LP version. A Gathering Together is Ron Morelli's second full-length for Hospital Productions, a "techno" cacophony brought to its granular detail and reduced to its most elemental tonal depths. A cohesive fusion of surreal and feverish déjà-vu loops, brittle noise, fucked rhythms, scrap-metal percussions, pro-one metal synths, and an injection of near-buried Drāno vocal samples, it's a fearsome celebration of brokenness and of amplified surroundings, with stereo-shifting drones and driving rhythms that tell the stories of those now gone -- more a soundtrack for a wake than 4/4 crafted for the dancefloor. There's a naked anxiety at work that doesn't turn away from loss but runs with an excited melancholy toward a future that won't exist. The boldness of the gestures is not to be confused with exuberance. With this effort Morelli has shown remarkable restraint and patience, most notably highlighted on title-track "A Gathering Together," an intense cut born from rapid-paced dead-end urban environments that force people together. It's a calling to do more, include more, and celebrate the many forms within those inconspicuous places. Upon numerous listens, it's clear that the sound-design is a reflection of heavy compositional themes that suggest a greater whole. This is hard, dirty techno -- humid, reduced, bare-bones, yet dense and dissolved to its electronic soil. Heavy without being oppressive, it is the culmination of many elements pulled from all spheres of modern electronics, eaten, digested, and spit back out. Produced at the end of 2014, with final mixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris. Mastered and cut by Matt Colton.
Double LP version. Pressed at Optimal and housed in full-color sleeve. Contains eight tracks (including the rare, highly sought-after Raime, Vatican Shadow, and "Blinding Horses" remixes) and includes MP3/FLAC download code for all 12 tracks included on the CD.
LP version. Includes download code. "A brand new compilation of rare material by John Baker from the BBC Radiophonic Workshop! John Baker (who worked for the BBC alongside Delia Derbyshire) ranks as one of the world's most influential electronic musicians. His talent as a jazz pianist & ability to manipulate tiny fragments of tape into new sound is legendary. Whilst working on The John Baker Tapes compilation for Trunk Records, producer Alan Gubby unearthed several reels of music & sound effects from the 1960's BBC TV series Vendetta -- a mafia themed cop thriller starring Italian actor Stelio Canelli (Barbarella, Django, Planet Of The Vampires). The theme tune for the show was composed by John Barry whilst Baker produced all the incidental music. He created brilliant, tense, rhythmic & unhinged James Bond style themes for the show between 1966 & 1968, featuring radiophonic beats, twanging bass lines & screaming jazz solos. Available for the 1st time ever, Baker's soundtrack for Vendetta displays his skill in fusing groovy tape loops, ambient drones & bass textures with real instruments. The music is thrilling, sleazy, deranged & very hip. Highlights from the score are presented on this compilation alongside other rare & previously unreleased Baker tracks, all digitally remastered by Mark Ayres from the Radiophonic Workshop archive."
Excavated Shellac: Reeds
LP version. Includes eight-page booklet and download code. Reed instruments are capable of some of the most impassioned music on the planet, due to the malleability of the reeds themselves -- historically made of plant tissue -- which vibrate when air hits them. The origin of most reed instruments is steeped in rural, pastoral culture. Many insistent, loud, often joyful reed instruments have always been played outdoors as traditional accompaniment for dancing and celebrations. This compelling album is the second volume in the Excavated Shellac release series, featuring rare, never-before-issued 78-RPM records from around the world centered on a unique theme. The previous volume (Excavated Shellac: Strings (DTD 044CD)) focused on stellar stringed-instrument performances. This release examines some of the most intense and hypnotic music set to disc during the early years of international recording, all featuring reed instruments.. All records have been carefully transferred and mastered. Featuring rare and historic photos, jaw-dropping graphics from the 78-RPM era, and extensive liner notes by compiler Jonathan Ward, founder and author of the acclaimed Excavated Shellac website. Includes tracks by I Tre Antonio della Basilicata (Italy), Sylvain Poujouly & Achille Marc (Auvergne, France), Karzana Oyun Havasi (Turkey), Tufanpur Orchestra (Iran), Ahn Ki-Ok and Kin Yin Kuan (North Korea), Guangdong Troupe with Da Kai men (China), T. Rajarathnam Pillai (India), Selim (Albania), Obdulia Alvarez, "La Busdonga" (Asturias, Spain), Jhande Nath (India), Hoseynkali was Roofakah (Kurdistan), Mohamed Efendi Baz (Upper Egypt), Ngoma Ya Kitokomire (Tanzania), Mqonga Sikanise (South Africa), Musicians of Radio Studio Skopje (Macedonia), uncredited musicians (Tajikistan), and Parush Parushev (Bulgaria).
2LP version. After their respective releases on Spectrum Spools, Italian techno masterminds Donato Dozzy (Sintetizzatrice (SP 038CD/LP, 2015)) and Neel (Phobos (SP 037CD, 2014)) return as the duo Voices from the Lake with Live at MAXXI on the motherlabel Editions Mego. A marvelous, organic live set of hypnotic, ambient techno that proves the outstanding and elegant craftsmanship of the pair's renowned sonic sculpture work. As expected, they stay true to their polyphonic topography of liquid scapes, with aquatic sceneries embedded in soaking dense atmospheres, gently gyrating the listener into a trance. Sometimes soft echoes of sirenic voices are heard -- the only remnants of human traces in these spaces that have suspended time, where smooth silky textures are channeled into fractal structures that induce a state of transcendence. The haptic quality of their sound adds up to a sonic matrix provoked by gentle glides and dynamic beat patterns of an almost tribalistic quality. Dunked in a bath of dark fluid, sometimes washed away at the shores of kosmische, Voices from the Lake's tunes seduce the listener into a condition of haziness, culminating in a cover of Paolo Conte's "Max," a dazzling sample of sweet, dreamy melancholia. With this release Voices from the Lake succeed again in strengthening their position as supremely refined ambient techno producers. All music written and produced by Donato Scaramuzzi and Giuseppe Tillieci, except "Max," written by Paolo Conte. Guitar overdubs and arrangements on "Max" by Brando Lupi. Mastered by Giuseppe Tillieci at Enisslab Studio in Rome. Recorded at MAXXI in Rome on October 25th, 2014, during the Open Museum Open City exhibition. Photography and cover design by Koto Hirai.
LP version. Includes deluxe printed inner sleeve, poster, and download code. In April 2015, Donato Dozzy took a set of mouth harps to his parents' house in the Italian countryside and set about exploring the possibilities of that most basic of instruments. The mouth harp had been calling to Donato Dozzy ever since childhood, and he had begun to see in this peculiar, ancient sound the roots of the music he'd been making and playing in clubs. The Loud Silence is the result of those explorations, an accompanied deep-dive into childhood memory, social history, and the roots of psychedelia. Recorded indoors and outdoors; halfway up mountains and on the edge of the Mediterranean Sea, the album is meditative but also powerful. Each track maintains an inviolable central pulse, while delicate, fluttering sounds hint at vast spaces waiting for the listener to connect with them. Field recordings hover below the resonating harps, adding to the mysterious atmosphere. Tracks like "The Loud Silence" and "Downhill to the Sea" are wrapped up in simple rhythms, their strict throb drawing the listener in. The organic physicality of the sound, made in concert with the body itself, generates a primal response in the listener; an undeniably visceral understanding; an empathetic resonance. The Loud Silence is Donato Dozzy's second solo album, and it sees him return to Further Records, with which released his first solo album, K, in 2010 (FUR 018CD/LP). The two albums share a sense of dynamic movement within a limited sphere. It's not minimal, exactly -- it's hard to describe such a rich sound as minimal or reduced in any way -- but it gets the most out of a small, well-chosen set of tools. As on his 2015 album Sintetizzatrice (SP 038CD/LP), a full-length collaboration with singer Anna Caragnano, the ability to make a single element the center of a musical world is enthralling. Anyone who has followed Donato Dozzy's work, whether the celebrated Voices from the Lake collaboration with Neel, the otherworldly mixes he's done for mnml ssgs and electronique.it, or, particularly, his 2013 album of Bee Mask remixes for the Spectrum Spools label (SP 029CD), will see that The Loud Silence is a continuation of a lifelong fascination with sound and its potential to bring people, times, and places together. This album is the first in Further's series exploring the depth of one instrument, preceding a solo record from Nuel focused on the Ekdahl Polygamist synthesizer.
"Viands is a spontaneous collaboration between two auteurs of Detroit's underground music scene: Joel Peterson and David Shettler (Moon Pool and Dead Band). Temporal Relics, their debut album, is a deep, reflective and fearless alternate-reality keyboard meditation that draws on the pair's broad musical vision to explore new vistas. Temporal Relic #1 & #2 are carved out of the same continuous 40-minute session that marked the first time the pair sat down together and 'just hit record.' Temporal Relics is a vast, expansive and moody inner-journey of epic proportion. Joel Peterson (Immigrant Suns, Chatoyant, etc.) and Dave Shettler (Moon Pool and Dead Band, etc.) met in the early aughts while Peterson was actively building a name for himself presenting underground and new sounds (his and others) to Detroit audiences with his Bohemian National Home venue and Shettler was back-boning and warping various rock and R&B acts across Detroit and the western world. Viands began as a sound check for a visiting jazz pianist borrowing Shettler's Moog sitting atop the Piano in Peterson's current venue Trinosophes. All live, all completely improvised, Mastered by Ruud Lekx (Rude 66) and cut by Josh Bonati at Bonati Mastering in NYC. Temporal Relics comes housed in a wide full-color UV gloss jacket featuring artwork by renowned sci-fi illustrator, Mark Salwowski, with layout by designer Beth Hall. A digital download code is included."
"First ever vinyl collection of the legendary 'Kostis,' the most enigmatic of all Greek rebetika artists of the early 1930s. Truly unique guitar duets and black-humor prose chronicling the hash dens, prison culture and pickpockets of old Athens. Virtuosic fingerpicking of Near-Eastern modes at the dawn of rebetika, when the bouzouki was yet to become supreme. Recorded under a pseudonym for export to the Greeks living in America, it stands as an enduring mystery and the high standard for a once subversive art form. Includes Greek and English lyrics, extensive liner notes by Tony Klein and many previously unpublished photographs. Co-released by Olvido Records."
"Coming just months after Dread (Wolf Eyes' first LP as a trio), Slicer was released on cassette in an edition of 50 in 2001. From start to finish, it's a full-fledged sonic experience, downright enveloping. Deep stuttering bass, high streams of electronics, rugged tape manipulation, horns, glass -- this recording contains an enormous spectrum of sound. Mastering legend John Golden, who cut the lacquer for vinyl, said it was like cutting a sonic obstacle course. That's not to say Slicer is a record that you'll play once and file away. The Olson, Young, and Dilloway line-up, which lasted just 5 years, shows unusual restraint here. The calm intensity of their wildly bizarre sonic experiments and masterful compositional moves make for a rewarding repeat listen. With influences coming from all over -- avant-garde sound art to Pink Floyd and beyond -- specifically, Slicer brings to mind the perfectly edited Malesch from Agitation Free, the immediacy of SPK, and the innovation of Henning Christiansen. Wolf Eyes were looking for, finding and fleshing out new musical forms. You won't be surprised, if you've followed their prolific output, that band practice was also always a recording session, and these guys all had solo projects too -- they played all the time. Their ideas developed from jamming, and you can hear the confidence, the masterful control of tone, the patience of the improvisations. This is deeply ambitious music made without academic pretensions. It contains some of the most minimal programming in their catalog and the editing and mastering are nothing short of inspired. Setting an impossibly high water mark early on as the noise scene was just getting to it's feet, few, if any, have come close to the energy and power of this recording since."
Antwerp-based nonconformist Dennis Tyfus debuts on PAN under his Vom Grill moniker with the Knerpen! (bevel) LP. Tyfus's dealings in unstable media -- spanning paintings and illustrations, films, radio transmissions and more -- reflect the freeform, sometimes parodic nature of his sonic output, which has been archived on his own Ultra Eczema imprint alongside many outsider, weirdo, and noise underground artists. Knerpen! (bevel) is a jarring collage of skewed electronics, tape loops, and treated vocals. Opening sequence "I" writhes and seizes with electricity. Skull-resonant clangs are sucked and scrunched back into themselves, before throbs of condensed static give way to the sound of someone rummaging around inside the bodies of acoustic instruments. On B-side "II," Tyfus multitracks the vocalizations of opera singer Emilie Fleamountains into an empyrean choir, before winding back the tape into a foaming-at-the-mouth mechanical meltdown. The 140-gram LP was mastered and cut by Rashad Becker at Dubplates & Mastering. It features photography by Dennis Tyfus and layout by Bill Kouligas. "What arouses the interest of Dennis Tyfus, with his difficult feet, is a clear, artful and wild realism whose extravagance never leaves one indifferent and can be summarised above all as the attempt to have fun in the end, after all." --Wim van Mulders
Philip Jeck writes: "To make this record I used Fidelity record players, Casio keyboards, Ibanez bass guitar, Sony MiniDisc players, Ibanez and Zoom effects pedals, assorted percussion, a Behringer mixer and it was edited it at home with MiniDisc players and on a laptop computer."
"...and they sparkled like burnished brass"
"Out of the depths of our complaints, it could be all so simple. To be never fooled by the finesse of a long-yearned for solidity, but in the momentary aplomb of a sleepy walk threading through familiar streets we'd hum our way, alto, baritone and tenor toward some harmonious end. An effect like some wonderful recollection of one or other of those technicolour movies. Not real for sure, but if you are in the mood..."
"I would like to acknowledge the influence the writer Marilynne Robinson has had on this work. I would recommend reading any/all of her four novels and also When I was a Child I Read Books (Virago, 2012). This collection of essays includes 'Austerity as Ideology,' which dissects prevailing economic thinking, and 'Open Thy Hand Wide,' which continues with a celebration of liberal thinking as Generosity (and also turned over my received knowledge of Calvinism). Her ability to convey a love of humanity and sense of wonder about the great mystery of existence in her writing has, since I first read a book of hers, found a way into the way I think about my work -- not illustrating but meditating upon." (April 2015)
Philip Jeck works with old records and record players salvaged from junk shops, turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Jeck makes genuinely moving and transfixing music in which one hears the art, not the gimmick. He started working with record players and electronics in the early '80s and has made soundtracks and toured with many dance and theatre companies in addition to his solo concert work. His best-known work, Vinyl Requiem (with Lol Sargent), a performance for 180 '50s/'60s record players, won the Time Out Performance Award in 1993. In 2010, Jeck won a Paul Hamlyn Foundation Composers Award. This gatefold double LP comes with a download code for Jeck's "Live in Caen," recorded by Franck Dubois on February 28, 2015, at Impressions Multiples #4 (ésam Caen/Cherbourg), with thanks to Thierry Weyd.
"Nobody can tell us that this 1978 German monster isn't one of the best footlongs of the era, a gnarly slab of pure '70s punk rock recorded in an abandoned WW2 bunker with two mics in one session. Formed by Amon Duul 2's Joerg Evers after the '77 punk explosion inspired him to return to his raw rock'n'roll roots, Pack bash out hit after hit, killer songs delivered with snarl, style and non-stop energy. Essential first generation punk, remastered with extensive liner notes and vintage photos! One-time press of 1000 copies only."
2003 release. A leading force in the roots of minimalism, Mother Mallard began in 1968 as a pioneering group using Moog's prototype synthesizers in live performance. These unique instruments led David Borden to develop and compose an innovative contrapuntal style that expanded the embryonic phase of minimalism through layers of rhythms and parts in a daring blend of high renaissance and analog electronics. The rare experience of Mother Mallard live is heard here along with a first release of Borden's "C-A-G-E, Part III." Recorded in 1976 and '77. Includes liner notes by David Borden.
DVDs are NTSC format; all-region; stereo. "Exhibitionist 2 is a documentary film that explores into the art form of DeeJaying -- showing graphic views of how a DJ manages himself with the usage of new DJ technology to create seamless mixes and complex transitions to the levels that were thought impossible decades ago. In this second volume, Jeff Mills goes even deeper into the art form to display, not only how he uniquely mixes music, but how he thinks in real time to create and work spontaneously like a musician playing a acoustic instrument or a soloist thinking of rhythms off-the-fly. This ambitious project consists in capturing the DJ in multiple film recordings showing close- up and multi-angles that reveal exactly what a DJ does -- how music is programmed and played for the purpose of dancing. DVD contents: Mix 1 (four-angle options) part1 / part 2 (approx 20 min each); Mix 2 with a drummer Skeeto Valdez (approx 13 min); Mix 3 909 work out (two-angle options) (approx 11 min); Studio Mix (Jeff Mills commentary option: English subtitle) (approx 46 min); Orion Transmission Mix (approx 45 min)."
First vinyl edition of Malian duo Amadou & Mariam's fourth album, Dimanche à Bamako, originally released in 2005. Double LP on orange vinyl; includes CD. Dimanche à Bamako won the BBC Award for World Music Best Album Award 2006; the duo won the African section of the same awards that year. It was also listed as one of Songlines' ten best world music albums of the year and was nominated for a 2006 Grammy Award for Best Contemporary World Music Album. Observer Music Monthly listed it as the 39th best album of the 2000s. "Amadou & Mariam, the blind couple from Mali, have certainly paid their dues over the last 30 years, and it's about time they received their big break. Certainly given the excellent reviews in Europe, Dimanche a Bamako could be it, thanks to the production and participation by the elf prince of world music, Manu Chao. He brings a playful lightness to their soulful, bluesy Malian sound, letting in plenty of sunshine, and drawing in a sense of place through the ambience of traffic sounds and snippets of conversation. Chao is also obviously present on several tracks, such as 'Senegal Fast Food,' which offers a bouncy, reggae-styled rhythm so typical of Chao's own records. ... Lyrically, this is very much an album of love songs, postcards between the couple, but it never veers into maudlin sentiment. Yet there's also a political edge to it, such as with 'La Realite.' Even if you don't understand the words, however, the entire disc is an absolute aural joy, poppy enough to be exquisitely memorable, yet with layers of resonance underneath. Likely to be one of the world music albums of 2005, it can hopefully find the kind of wide audience it surely deserves" --AllMusic. Because Music 10th Anniversary Vinyl Campaign. First time on vinyl. Will stay in catalog after campaign ends.
"Elegies-in-waiting to the monotonous dread of exploitative labour, dosed with elliptical distortion, industrial noise and ear-crushing bass. in the lineage of Pan Sonic, Sunn O))), and the more gruelling Scott Walker productions. Vex'd veteran Roly Porter drops by with a sci-fi reinvention of Council Flat, trading in IF's mogadon footwork and megaton polyrhythms for a less apocalyptic, more introspective blend of modern classical, dark ambient and dirty stinking breakbeat."
"Twelve minutes of blissful melody, hypnotic drums and quaking bass, in Florian Meyer's fresh mix-up of West African polyrhythms with the sensibilities of classic US minimalism. Jordan GCZ from Juju & Jordash edges his remix into the outlands of free jazz, with pulsating bass drum and spiritual synths, like Terrence Dixon beaming down from Saturn."
"It has all the music I like in it" was Blue Tapes' response to Benjamin Finger's initial submission of Amorosa Sensitiva. That music is cloud-rolled drones and sun-speckled synths; it is low tides of distant cello, ebbing into view; it is tiny hits of percussion clustering protectively around sustained piano patterns; it is techno slowed down and stretched out and reconfigured as free jazz; it is cascades of notes that tilt your head back and lift your legs into the air and scroll around you; it is snatches of human conversation rendered as abstract song textures, which lends a hallucinatory logic to the LP's narrative. Since 2009, Finger has conjured half a dozen albums of meditative, atmospheric compositions that draw from multiple sources but retain a very natural and intuitive musicianship -- one that prevents the juxtaposed sounds from sounding patchwork or contrary. Amorosa Sensitiva isn't just stylistically varied, though; it has a wide emotional palette, as comfortable exhibiting ferocity as bliss. Benjamin Finger is influenced by Alice Coltrane, Slayer, Spacemen 3, Arthur Russell, Butthole Surfers, Slint, Loop, Lee "Scratch" Perry, Charles Mingus, Disco Inferno, Sun Ra, Eric Dolphy, Broadcast, Labradford, Laurie Anderson, Flying Lotus, Pharaoh Sanders, Fugazi, Panda Bear, Suicide, Flying Saucer Attack, The Frogs, Frank Zappa, early Jane's Addiction, Bardo Pond, David Bowie, Autechre, Philippe Sarde, George Michael, Frédéric Chopin, Terry Riley, Gescom, John Zorn, Omar-S, Morton Feldman, Mr. Bungle, Talk Talk, Vincent Gallo, Gas, Drexciya, Laurel Halo, Actress, Oneohtrix Point Never, François Truffaut, Hal Ashby, Louis Malle, John Cassavetes, Woody Allen, Ettore Scola, Julio Medem, Jacques Audiard, Krzysztof Kieslowski, Paul Thomas Anderson, Roman Polanski, and early Jim Jarmusch films. Amorosa Sensitiva was mastered by James Plotkin (Khanate, Scorn, Nadja, Sunn O)))). Features Are Watle on saxophone ("Whirlbrainpoolin") and additional guitar ("Bum Finger Notes") and the looped voice of Inga-Lill Farstad ("Headspincrawl" and "Darnskullgreyness"). In terms of both packaging and sound, this LP forms a natural counterpart to X-Ray's fourth edition, Piano Mating by the legendary Mats Gustafsson, which is forthcoming at the time of this release. LP pressed on frosted clear 180-gram vinyl; housed in screenprinted PVC wallet; includes download code.
Watch This! Dubbing at Tuff Gong
LP version. Most people associate Tuff Gong with Bob Marley, and rightly so, as he was often called Tuff Gong and his early releases came out on the Tuff Gong label. But Tuff Gong was also the name of a recording complex named after Bob Marley that included a top-level recording studio, pressing plant, and distribution center. Marley had taken over the former residence of Island Records boss Chris Blackwell -- Island House, 56 Hope Road -- around 1974. Two days before the Smile Jamaica Concert, on December 3, 1976, the house was ambushed by gunmen. Marley's manager, Don Taylor was hit five times, Marley was shot in the arm, and his wife Rita was hit in the head by a stray bullet -- but none of the injuries were fatal. Immediately after the concert Marley started his self-imposed exile from Jamaica, settling in London, England. This would lead to the aptly named Exodus album being recorded there in the summer of 1977. It would not be until the One Love Peace Concert in Kingston's National Stadium on the April 22, 1978, that Marley would return to the island. Marley felt it was important to show his commitment to the people of Jamaica, and upon his return to 56 Hope Road, he began the construction of his own recording studio with the help of music mogul Tommy Cowan. Unfortunately, Marley's short life would end on the May 11, 1981, from cancer. His passing would lead to 56 Hope Road being turned into a museum. A new location would have to be found to carry on Marley's work; this turned out to be 220 Marcus Garvey Drive, Kingston 11. Rita Marley and Tuff Gong International bought the facility, and hired engineers including Errol Brown (Treasure Isle Studios) and Hopeton Brown aka Scientist, so named for his groundbreaking style by the great producer Bunny "Striker" Lee, who had worked with him previously at King Tubby's studio and Channel One Studios. Watch This! Dubbing at Tuff Gong focuses on the work carried out by the great Scientist on the songs of the Black Solidarity label (run by Ossie Thomas aka Joe the Boss), at Tuff Gong, one of the foremost recording, pressing, and distribution facilities on the Jamaican island, set up from the work of Bob Marley to carry forward reggae music.
This Side of Paradise
180-gram double 10" version. Includes CD. Tackling the challenge of a second album head-on, Coma return to the fore with This Side of Paradise, a comprehensive and meticulously-arranged collection that never strays far from the duo's well-established modus operandi. This Side of Paradise is truly refined pop music that takes its cues from both sides of the musical fence. A further exploration and expansion of the territory initially explored on Coma's first full-length, In Technicolor (KOMP 106CD/KOM 279LP, 2013), This Side of Paradise shows the artists commanding their craft with confidence and style -- a sonic treat for seasoned connoisseurs and recent scholars alike. Sometimes described as songwriters who don't actually write songs, Coma tend to nudge the genre-boundaries without making this their central artistic statement -- they're not in the game to search and destroy, but to meet and seduce, in a constant effort to make music that is as innovative and multilayered as it is accessible. It's an endless process of reevaluating their own tropes that leads the duo to the unconventional but immensely catchy hooks on tracks like "Borderline," "Pinguin Power," and "Happiness," half-sung and half-synthesized. Coma don't want to settle on whether they actually are a dance act or a pop outfit: "We always try to rethink what we're doing. At one point we even thought about dropping the melodies altogether, because melodic techno has become kinda prevalent. But that wouldn't be us either -- we love a good melody as much as the next person." The receptiveness for cognition glitches and happy accidents might be behind Coma's obvious penchant for cooperation; This Side of Paradise's most classic songwriting appears on "The Wind," a dreamy, melancholic, downbeat gem featuring vocals from frequent collaborator Dillon. Meanwhile, another old friend has switched roles: Mit's lead singer Edi Winarni returns after his cameo on In Technicolor, but this time he's responsible for the cover art, based on his own sculptural work and created from archetypes of bird beaks in front of a heavily processed white screen. It asks basically the same question that the band does: how much beak do you need to recognize the bird? How much melody do you need to be pop? How many beats until you're part of the club continuum? Coma's true achievement might be in asking themselves these kinds of critical, potentially thwarting questions, but still remaining able to produce beautiful music that speaks to both the body and the soul.
"Album No. 3 from Christina Vantzou is the result of a two-year process of composing, arranging, rearranging, experimenting, and melding classical instruments with synths and electronics. Recorded in Belgium with a 15-piece ensemble of strings, horns, woodwinds and micro-choir, the tracks vacillate between orchestral, ambient soundscapes and more structured works that the composer refers to as 'pillars.' The internal core of the record, however, is unwavering. All tracks head in the direction of otherworldly drones surrounded by soft, subtle and sometimes intense veils or points. The structured tracks mark a new direction for Vantzou. Whereas 100% of the music on No. 1 and No. 2 was composed without time structure or steady click, the pillars on No. 3 adhere to a solid mathematical scheme. Perhaps Vantzou's day job as a math teacher is starting to have an influence. No. 3's virtual instruments and voice samples hearken back to Vantzou's time with The Dead Texan, specifically tracks like 'Aegina Airlines' and 'When I see scissors I cannot help but think of you'. The synths on No. 3 were given special attention and were recorded over a 2 week period using a DX7, Yamaha CS20, Roland Juno-6, and a selection of eurorack modular synths, making No. 3 very much a hybrid record, both symphonic and synth-based. To complete the album, Vantzou made 2 slow motion videos using a phantom high-speed camera and a 16mm short film."
From the Future: The 1982-1983 Tapes
Mannequin Records' excavation into early '80s Italian minimal synth continues with the 1982-1983 demo tapes of Turin's Monuments, following the label's 2013 reissue of their only official release, the 1984 mini-LP Age (MNQ 040LP), which comprises six incredibly fantastic electro-pop tracks. Monuments came into being in January 1981 when Mauro Tavella (keyboards, programming) and Andrea Costa (keyboards, voice) pooled their artistic experiences. From the outset, they produced exclusively synthesized music, following the natural evolution in electronic music from the early days with monophonic synthesizers to the latest virtual sounds generated with the aid of computers. Most of tracks included here were composed between the summer and autumn of 1982 in the duo's private TKS recording studio in Turin. Some were made at the beginning of 1983, but only one, "Clock's Room," was later rearranged and included on Age. Edition of 300.
"Michael Pisaro (b. 1961) is a member of the Wandelweiser collective, an international organization of musicians which he has defined as 'a particular group of people who have been committed, over the long term, to sharing their work and working together.' Its members have shared an interest in John Cage and experimental music, and extended durations, indeterminacy, and silence have featured in many works they have made; but Pisaro is quick to point out that the members of the collective have a far from uniform aesthetic stance. Pisaro's work over the past decade bears little surface resemblance to the pieces made by other members of the collective apart from a commitment to experimental music and to deeply collaborative processes. Many of the recent trajectories of his work intersect in A mist is a collection of points (2014). A mist is a collection of points, while a grid is an organized collection of points. There is the unspoken tension in this work between regular and aperiodic, solid and vague, artificial and organic, order and sprawl. This interplay takes place from one section to the next, and also in the interactions between the parts: between the pianist (Phillip Bush), the percussionist (Greg Stuart), and the sine tones (by Michael Pisaro). It affects the melody and the resonance, the timing and the coordination between parts. The intermingling of shadow pitches and extended resonances creates effects that are at least as vivid as any articulation. Gradual change is a feature of the entire work, on the most local scale (measure by measure) and on the macro scale as well. Timing, resonance, melody, register, and dynamics are all intertwined in these slow transformations. 'The work is essentially about the morphology and topography of this resonance.' This recording, like the piece itself, best reveals itself when it is 'let loose in an environment,' played on speakers rather than headphones, in order to continue to develop its shape."
"Below a shuffling cabasa-like rhythm, a pair of taut drum patterns is punctuated by swirling electronic crackle and a deep bass drop. Slowly and almost imperceptibly, layers of spongy beats accumulate until they're wiped out dub-style by an echoing sonar moan that suspends the track in a dark and undulating aquatic reverie, a lull broken by jittery bass tones and reverberant knocks that surge into an intricate percussive maelstrom. Jake Meginsky's music is distinctly low end and percussive. While nodding to minimal house, dub, and noise, Meginsky's electronica bears ample evidence of his apprenticeship with fiery avant-jazz percussionist Milford Graves and his training in West African djun djun and djembe. There's nothing rigid or mechanical here. On the contrary, Meginsky's rhythmic sensibility is supple and flexible -- rumbling, fluttering, and bouncing in elastic configurations of enchanting complexity. All rhythm and squall, the pieces on Vandals can't be called 'songs'; but they're too non-linear to be called 'tracks' and too structurally unpredictable to be 'compositions.' Rather, Meginsky builds little electronic ecosystems that seem to breed sounds in all their timbral and textural diversity, and to observe what results as they ally and skirmish with one another." --Christoph Cox
Netherlands-born, Washington, D.C.-based Martijn Deijkers started DJing in the '90s and began producing in the 2000s, and has released on labels such as Ninja Tune, Warp, and Steffi's Dolly Dubs, among many others. "Falling for You" opens with a major piano motif and field recordings before a luscious garage-inspired rhythm emerges along with bubbling synth bleeps and organic percussion. "U1-U8" is a slightly darker offering with syncopated melody, hi hats, claps, and sampled shehnai sounds sitting atop the hollow kick. "Ahmadiya" closes the EP with a pensive synth, string elements, beguiling piano strokes, and a more break-heavy vibe.
Live at Roadburn Festival 2014 CD
Face Disappears After Interrogation 12"
Crete: L'Art de la Lyra CD
Yemen: Le Chant de Sanaa CD
The Papermoon Sessions: Live at Roadburn 2014 CD
Exhibitionist 2 (Part 2) 12"
Surgeon EP (2014 Remaster) 12"
Communications (2014 Remaster) 2x12"
Rare Tracks 95-96 (2014 Remaster) 12"
Watch This! Dubbing at Tuff Gong LP
What You Won't Do for Love 12"
A mist is a collection of points CD
Everybody Come to Church LP
The Jail's a Fine School LP
Narr Day/Narr Day Remodulated 12"
Same Old Samples (Vol. 1) 12"
Golden Garuda/Super Molam 7"
Be Free with Your Love/Fearless 10"
The Art Behind the Tape Book
Entre Ciment et Belle Étoile 2LP+CD
Halloween (Part One) EP 12"
Halloween (Part Two) EP 12"
Toronto '83: In the Cold Night LP
This Side of Paradise 2x10"+CD
Feel Free: Live at Cafe OTO LP
AX+BY+CZ+D=0 (aka Kunst Am Computer) LP
B23 Steelhouse/Motor System (Extension) 12"
Small Town Country, Vol. 1 CD
Small Town Country, Vol. 1 LP
Les Années Canetti: L'esprit Chanson Française 2LP/2CD
Symphony No. 2 (The Peak of the Sacred) CD
Ambient Loop for Vancouver CD
Excavated Shellac: Reeds LP
Re-Edits & More Vol. 4 12"
From the Future: The 1982-1983 Tapes LP
Ceux Qui Restent + Punk Tape 2LP
Brazilian Disco Boogie Sounds 1978-1982: Selected by Junior Santos LP