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viewing 1 To 25 of 108 items
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BS 093LP
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$27.00
PREORDER
RELEASE DATE: 12/20/2024
On the same path as Baraka, Klaus Wiese (Popol Vuh) continues his intimate spiritual journey into healing and cosmic drone music. Like its predecessor, this work originally appeared on tape for Aquamarin Verlag (1982). "Sabiya" means bright, shining, an oriental wind that suggests feminine power; "Sabiha" is therefore she who manifests beauty and grace. "Shaheena" is indicative of gentle and soft, while "Shahira" embodies and represents the essence of recognition and visibility. Absorbed in absolute state of contemplation, Wiese plays harp, tambura and harmonium in a very essential and circular minimal way, focusing on the stillness of their pure harmonics. The glorious, triumphant sweep of this luminous sound thus seems to evoke and suggest these precise concepts, tactile and visual emotional drops, swirls of impalpable bliss, revelatory of an ethereal and infinite astral dimensional level.
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BS 092LP
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$27.00
PREORDER
RELEASE DATE: 12/20/2024
Despite their Michigan roots, with their hearts anchored in the golden age of 1970s German Krautrock, Fling ii celebrate the sound of that sensational season of experimentation. In the chords of the band dwell the typical motorik style of Neu, the percussive obsessions of Can, as much as the pulsing, hypnotic electronic textures of Cluster and Kraftwerk. The absolute protagonist of this adventure back in time is the legendary Boss Super Phaser PH-2, the dual-circuit modulation pedal that shines through the entire development of all the tracks; it's the main demiurge of deep resonances, of impulsive intergalactic excursions, of dust and mists in perpetual motion. The sound is as dreamy and cosmic as ever, revealing such instrumental rigor in which the strongly emotional blend of the original sources of inspiration finds a perfect balance between rhythm and dynamics.
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BS 086LP
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Probably in another life David Edren (DSR Lines) was a visionary biologist or chemist. In this new sound adventure, he becomes the narrator of anatomical and cellular symphonies, catharsis of invisible biochemical processes, painting the micro-dimensional flows of the subtle body or imaginary geographies of hidden micro-bodies. Here, his organic electronic music is enriched with new lymphs that also vaguely recall the influences of non-European music, especially Chinese and Japanese music (stick and chimes percussions) in an intimate and twilight dimension, poised between exotic ambient and cinematic suggestions. A militaristic description of liquid currents, labyrinthine veins, weaving streams, molecules and particles in multi-orbital dances, muscular chords, drowning bubbles, light waves; all in a confident compositional overview that is absolutely unique and fascinating.
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BS 088LP
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Through the course of time, DSR Lines (David Edren) never loses his intimate and profound connection to the universe of modular synths. These recordings, made during 2014 in a residence at the Cem/Worm studio in Rotterdam, represent a further magical compendium of his Organic Electronic Music. In particular, here he draws from his expressive arsenal the cosmic and galactic potential of the Arp 2500, which happily floating throughout. A rigorous magician of vaporous, oscillating patterns, sidereal frequencies, nebulous dust; an explorer of inter-zonal paths, he unveils new dreamlike dimensions en-route to unfold planets. Between Kraut-Kosmische accelerations and a personal approach of gentle minimalism, he always forges rare atmospheres of rhythmic pulsation, full of enveloping, spherical and spiraling sounds, luminous and radiant in their hypnotic aura, or magnificently ecstatic and ascending. Originally released by Ultra Eczema.
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BS 084CD
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Roberto Laneri (Prima Materia) further radicalizes his formal research path in the field of harmonic singing, with a highly rigorous compositional practice of scores and rhythmic placement of overtones. At the dawn of Western counterpoint and the birth of polyphony, he imagines as in a dream the famous Magister Perotinus (XII century) in ecstatic contact with higher entities (Jedi Masters) who would introduce him to those secrets of the vocal art, further developed in later centuries. Among the mysteries of subtle acoustic phenomena such as resonance, phasing and interference, the criterion of harmonic convergence (i.e. the convergence of different fundamentals on common overtones) emerges as a powerful compositional tool. The strength of this music lies in the vibrational power of sound, in an expanded archetypal liturgy, where lights and shadows of ancient Gothic cathedrals infinitely amplify the imaginative transformation of the real, as in the vesica piscis-shaped crevice of Noura Tafeche's sensational cover.
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BS 084LP
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LP version. Roberto Laneri (Prima Materia) further radicalizes his formal research path in the field of harmonic singing, with a highly rigorous compositional practice of scores and rhythmic placement of overtones. At the dawn of Western counterpoint and the birth of polyphony, he imagines as in a dream the famous Magister Perotinus (XII century) in ecstatic contact with higher entities (Jedi Masters) who would introduce him to those secrets of the vocal art, further developed in later centuries. Among the mysteries of subtle acoustic phenomena such as resonance, phasing and interference, the criterion of harmonic convergence (i.e. the convergence of different fundamentals on common overtones) emerges as a powerful compositional tool. The strength of this music lies in the vibrational power of sound, in an expanded archetypal liturgy, where lights and shadows of ancient Gothic cathedrals infinitely amplify the imaginative transformation of the real, as in the vesica piscis-shaped crevice of Noura Tafeche's sensational cover.
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BS 083LP
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A floating drift toward a mysterious reality, between nature and cosmos, poised between sleep and wakefulness, temporal co-presences and impossible spatial ubiquities. In this phantasmagorical saga, inspired by TV science-fiction as well as '60s and '70s horror movies, Nicola Giunta/Lay Llamas creates a miraculous balance between original inserts and retrievals of freely chosen fragments from old audio documentaries on vinyl, perfecting the art of sound collage in an absolutely psychedelic way. Nonlinear dream textures become labyrinths of sudden openings, empty rooms, interstellar platforms, narrating voices from other worlds or ghostly churches from beyond the grave. A piercing electronica of cosmic synths, dense with the mists and dusts of distant times, past and future at the same time, where lysergic percussions merge with echoes of flutes vibrating in endless tropical forests and natures. Until the final awakening, in the reality of the first light of dawn.
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BS 069LP
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LP version. The explorer Walter Maioli makes his most amazing adventure, the journey to the center of the Earth. Retracing the exploits of the Platonic demiurge, he identifies in the cave the deepest meaning of myth. Primordial sounds, not shadows, are at the center of this magical path straddling geology and Paleolithic polyphony. The recordings between 1985 and 2002 capture the sonic imperceptibility of the great subterranean womb, investigate the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalagmites. Rocky sediments are played as tubular organs, glockenspiels, xylophones or stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, of the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli builds his most imaginative niche of sound, a magnetic and telluric chant that is pure symphony and archetypal synesthesia. Co-produced with Holidays Records.
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BS 085LP
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After their debut album, the most multifaceted and unpredictable musical collective in Italy -- Addict Ameba -- come back with their sophomore album, Caosmosi. Faithful to the aim of bringing together different paths, traditions and horizons in their music, the band moves between desert-blues and Afrobeat landscapes, with Latin rock rides and Ethio-jazz parentheses. The vision of the album is further enriched by two absolutely valuable features: Joshua Idehen, Anglo-Nigerian poet and singer and pen of Sons Of Kemet and The Comet is Coming, is the author and lead voice in "Look At Us," a poem -- or perhaps it would be more correct to say a prayer; Rabii Brahim, Tunisian actor and musician, who in "Ya Bled" gives birth to a love song for his land, telling the nostalgia and disorientation of migrant, even when he returns to his homeland. To approach listening to this album, you should project that state of melancholy euphoria that you would experience when taking part in the last great party before the disappearance of the human race. Caosmosi!
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BS 069CD
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The explorer Walter Maioli makes his most amazing adventure, the journey to the center of the Earth. Retracing the exploits of the Platonic demiurge, he identifies in the cave the deepest meaning of myth. Primordial sounds, not shadows, are at the center of this magical path straddling geology and Paleolithic polyphony. The recordings between 1985 and 2002 capture the sonic imperceptibility of the great subterranean womb, investigate the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalagmites. Rocky sediments are played as tubular organs, glockenspiels, xylophones or stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, of the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli builds his most imaginative niche of sound, a magnetic and telluric chant that is pure symphony and archetypal synesthesia. Co-produced with Holidays Records.
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BS 082LP
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LP version. Reissue, originally released in 1976. Folk Magic Band represents one of the most interesting and original, yet lesser-known experiences of the Italian jazz scene of the 1970s. In the legendary alternative environment of the Folk Studio in Rome, an open 18-members lineup is inspired by the free jazz of its time, a music that encompasses the whole world and its polychromy of sound. The echo seems to resonate the pan-ethnic motifs of Don Cherry and his Organic Music Society, but also the spiritual jazz of Pharoah Sanders and the orchestrations of the Sun Ra Arkestra. The textures chase a Chinese melody, ignite with African scents and South American jungles, flow into fusion violin drifts a la Archie Shepp's Attic Blues or Mingus-like orchestral sections. The fascination of this collective affair still strikes for its playful and ironic nature, still impressing for its strength and willingness to open and influence new directions.
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BS 082CD
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Reissue, originally released in 1976. Folk Magic Band represents one of the most interesting and original, yet lesser-known experiences of the Italian jazz scene of the 1970s. In the legendary alternative environment of the Folk Studio in Rome, an open 18-members lineup is inspired by the free jazz of its time, a music that encompasses the whole world and its polychromy of sound. The echo seems to resonate the pan-ethnic motifs of Don Cherry and his Organic Music Society, but also the spiritual jazz of Pharoah Sanders and the orchestrations of the Sun Ra Arkestra. The textures chase a Chinese melody, ignite with African scents and South American jungles, flow into fusion violin drifts a la Archie Shepp's Attic Blues or Mingus-like orchestral sections. The fascination of this collective affair still strikes for its playful and ironic nature, still impressing for its strength and willingness to open and influence new directions.
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BS 075LP
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After his participation in a masterpiece such as Popol Vuh's Hosianna Mantra, in the early 1980s Klaus Wiese produced a series of seminal works in the field of ambient-drone and healing music. The first of these, Baraka, was released on tape by Acquamarin in 1981, and already contained all the aspects of his future research into the mysticism of sound. Wiese shares the path with other German explorers such as Hamel, Fricke, Micus, or Deuter, but he focuses his attention on the most essential nature of sounds, on their acoustic purity, which is always infinite spiral, vortex of frequencies and cosmic bath. It takes only a few means (zither, tampoura, cmybals, singing bowls) to reach the absolute through vibration. Like the archaic mood of a great universal harmony, the sound suggests a complete state of otherworldly meditation, an enveloping cloud of peace in the eternity of the present. The musician is only the one who distributes and directs the thickenings of ethereal matter, microtonal agglomerates, cascades of celestial harmonics and emotional floods, petals and stems of devotion.
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BS 081CD
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Reissue, originally released in 1975. In the late 1960s, Antonio Infantino linked his name to the beat world and to Italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.
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BS 077LP
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Giovanni Di Domenico has now achieved a personal and unmistakable style within contemporary minimalism. His music always expresses a state of concentration, of recollection and contemplation toward a focal node. Repetition is experienced as alchemical state, as truth contained in the small nuances of change, in a crescendo that never reaches a climax. The atmosphere is intuition and is made up of a few compositional touches. To compose is to make synthesis, to unearth purity, simplicity and exactness. This new work for solo piano is almost an imaginary novel... the notes seem to tell of deserted streets, lonely walks in the night or runs down stairs. In this sense the musician is the writer of silence and the fleeting moment. And so, amid slow chords like Chopin or Satie, moods oscillate between brio and allegro, evoking the lightness of love, greater sadness and melancholy, as well as more restless and agitated ostinatos, the product of a more cathartic worldview.
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BS 081LP
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LP version. Reissue, originally released in 1975. In the late 1960s, Antonio Infantino linked his name to the beat world and to Italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.
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BS 076LP
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Since the early 1980s, the Nexus creature has represented one of the most interesting realities of the Italian jazz scene. Daniele Cavallanti (Aktuala) and Tiziano Tononi (Moon On The Water/D.O.M Alia Orchestra) realize a sensational mix of orchestral praxis and impro-free jazz. The strength lies in the ensemble's variety of timbres, in that precise hybrid of styles reminiscent of the cross-sectional experiences of the 1970s of Zappa, Henry Cow, or Charles Mingus. Thus, electrifying phrasing, the most hermetic breaks in the plot prevail, which are sublimated, however, in a skillful balance between recognizable themes and more radical instrumental drifts. The choral openings of the woodwinds and the more abstract rhythmic trajectories of Tononi's drums, the abrupt swings of the vibraphone and drums, and the confusing, sparkling inserts of the violin are the dominant features. The drama of the sound also touches more spiritual-jazz peaks, evoking the sad story of the slave trade. Noura Tafeche's lysergic cover represents the transatlantic journey and the syncretic history that gave birth to jazz culture, this drawing takes its cue from the artwork of Mati Klerwein (Miles Davis, Santana). Poster cover.
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BS 079LP
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Spiritual jazz paths always open up unexplored dimensions, this is the clear impression revealed by this superb and ambitious first double album by Lina Langendorf and her new band. The Swedish saxophonist (OK Star Orchestra, James Yorkston, Nina Persson & The Second Hand Orchestra) seems to be blowing in the lesson of the great sacred monsters of the instrument such as Wayne Shorter, Pharoah Sanders, or Archie Shepp, but revising it in a melting pot of bolder contaminations. The secret lies in embracing different musical traditions and genres in the flow of a futuristic, psychedelic sound in constant metamorphosis. Ethio jazz may marry Mali blues, Afro beat, Scandinavian melodies, and tonalities from the Mandinka tradition. Everything, however, is focused toward a lysergic fury of rhythmic euphoria. Acid keyboards draw astral and hypnotic grooves, kaleidoscopic carpets, exotic intergalactic and satellite patterns; a hymn toward the cosmos that still smacks of Sun Ra-like solar myths and Mulatu Astatke's East African winds. Co-produced with Sing A Song Fighter.
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BS 078LP
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The visionary French musician Ariel Kalma stays true, in this third compendium too, to his path of planetary asceticism. A new treasure chest of secrets reveals to us same spirituality of total experimentation, by balancing the universe and the inner soul. In "Taste The Fullness Of Life," Ariel builds his symphonic pillars toward the cosmos, eternal architectures that always smell of Indian fragrances. The music always communicates a state of full grace, spreading balms of bliss. An unprecedented whispered narrating voice, evident especially in "Spiritual Chanson D'Esprit," is embellished with textures of harmonic bells, tropical flutes, spacey harmoniums and drones of mystical light. In the recordings of "Going Inward," also made on the occasion of a Tantric workshop, Kalma oscillates between tribal electronic dances, metallic almost industrial rhythms, but then always falls back in a comfort zone made of desert carpets of synths and baths of sound (gong/bells). "Harmonica Galactica" crowns interstellar dreams with unscrupulous drum-machine gears and pulsing saxes, superb use of VCS3 with Arabesque and Schulzian overtones, and suave touches of fingerpicking guitar with freak vibes typical of psych-folk.
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BS 080LP
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Since the 1970s, Mario De Leo works as a musician and visual artist. His mechanical paintings are hybrid works that reveal the cosmic spiritualism hidden in the meanders of electronics. With Riccardo Sinigaglia (Futuro Antico, Correnti Magnetiche, Doubling Riders), De Leo consolidates an artistic and human partnership with Lettera Cosmica, a work unpublished to date, produced and recorded in 1981. In a wacky electronic vision of the succession of time, the tracks trace the four seasons in a fine process of analog loops, prepared tapes of strings and piano, time and pitch shifts, filtering with Synthi EMS and TEAC 3340 4-track recorder. On this seemingly cold palette, De Leo deploys his own personal Mediterranean fingerpicking, with vocal timbres peculiar to the music of the South of Italy, but no longer circumscribed to the origins of his Pugliese regionalism, as much as to an expressive range seasoned also with irony and avant-garde. The sound writing harmonizes with the evocative cover, in which emerges a warmest human note of "technological peasant".
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BS 073LP
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LP version. Art Of Primitive Sound is a sensational journey to the origin of music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic, and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the world. Rubbing of fossils, animal artifacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf, and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc. How great can be the natural orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an opera of universal character inspired by the archaic essence of sound and infrasonic dimension.
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BS 074LP
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Everest Magma rediscovers the folk roots of his dreamy alter ego Woodcutter. Once again, he appears as a minstrel crossing moonstruck woods inhabited by gnomes, butterflies, and crawling creatures. Nature is sublimated into a personal alien vision in which a lysergic approach triumphs in the arrangement of sound material and immersive musique concrète. Pure acid-folk fingerpicking communicates directly with the forest's humus, steeped in wild and ethereal moods. Between schizoid or more lyrical moments, a persistent taste for subtle subterranean noises, electric flashes, radio and UFOlogical interferences, deviant scents, and psychological drifts permeates the flow. The abstracting structure of voices and singing expresses the cyclical beingness of living, a decontextualizing dimension of space and time. It's the pantheistic feeling of a parallel naturalistic universe, which also takes cues from the psychedelic eccentricity of Claudio Rocchi's Suoni di Frontiera, the Incredible String Band or Holy Modal Rounders. Co-produced with Maple Death Records.
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BS 073CD
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Art Of Primitive Sound is a sensational journey to the origin of music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic, and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the world. Rubbing of fossils, animal artifacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf, and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc. How great can be the natural orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an opera of universal character inspired by the archaic essence of sound and infrasonic dimension.
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BS 066LP
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Black Sweat present a reissue of Tom Van Der Geld's Small Mountain, originally released in 1986. In 1986, the vibraphonist Tom Van Der Geld composed his personal ode to creation, a tonal poem for all natural beings called Small Mountain. It reveals a pure minimalist inspiration, a vibrant style of sound variations that is decidedly more Zen-impressionistic than the mathematical-metaphysical works of Steve Reich. This music, for four marimbas and other percussion instruments, suggests an emotional osmosis with all the elements, a flow of ecstatic progressions that is more immanence than transcendence. It's the rain that falls softly on fragrant moss or the fog that hides the frost on the grass; an exotic spectrum of multi-form colors, dances of leaves, branches, sticks, fronds, lianas, swirls of petals and bark. Ode to the wind, to the rainforest, a psalm to the waters energy that opens the portals of the temples of nature. As in the Aboriginal songlines, every place or being on planet Earth becomes, through music, space for the sacred.
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2LP
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BS 070LP
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Mohi Bahauddin Dagar is the heir to one of the most important families of musicians in the Indian Hindustani tradition: Dagar family. During the 20th century, his father, the famous Ustad Zia Mohiuddin Dagar, was mainly responsible for the revival of the Rudra Veena as a solo concert instrument. The stylistic evolution of the Rudra also involved a substantial modification of its parts by Zia Mohiuddin. In fact, the tumbas (gourds) and dhandhi (hollow neck) were enlarged to create greater resonance and closeness to the techniques used in Dhrupad singing. Ahir Bhairva consists of a mix of two morning Raga in its classical progression of alap, jor, jhala, and chowtal phases, in a sound framework embellished by tanpura and pakhawaj. Bahauddin remains faithful to the stylistic features of Dagarbani thought, a slow meditative development that explores all the possible ranges of his instrument, with ascending and descending microtonal movements that reactivate body and mind in the first light of day. Originally released digitally by Country & Eastern in 2019.
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