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LP
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EMEGO 286LP
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$23.00
PREORDER
RELEASE DATE: 4/16/2021
Johannes Auvinen has been a one-man acid king for over a decade producing a wealth of acid and acid house under the moniker Tin Man. For this new release on Editions Mego, he navigates an entirely different zone. Drawing on the history of electronic music, Akkosaari is a transcendental journey far from the sensual frenzy of sweaty acid drenched dancefloors we are accustomed to with his work. Akkosaari lies in the middle of the kosmic komische of Ash Ra Temple's "Jenseits", the weightless transcendentalism of Eliane Radigue's Trilogie De Morts, and the more glacial output of the Sähkö catalogue. The pace is gentle as the listener is drawn further into a world unlike the one we inhabit, these machines are more second life than one's emulating real life. The fantastic potential for audio induced visions are at play in this adventure in music as mind travel. On "Kyläläiset Tanssii" a measured pulse acts as a means of navigation before "Susi" spirals out clouds of sound. By the time you get to "Kelluminen" you are deeply within an unfamiliar state prior to landing in the heavenly plateau of "Akkosaari". Throughout Akkosaari, you are bathed in enrapturing and enveloping mists of psychedelic haze which take the listener on a vivid mental journey. This is intoxicating head music unfolding like an astral ascension and like any trip warrants repeat visitation. Composed by Auvinen. Mastered by Denis Blackham at Skye Mastering, June 2020. Cut by Andreas Kauffelt at Schnitstelle, Berlin, June 2020.
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2LP
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EMEGO 293LP
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$31.00
PREORDER
RELEASE DATE: 3/12/2021
Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife. This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight. Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are "Sooty Wing Flecks" a minuscule species of half keyboard half vocoder chatter? Is "Gleitende Liebe" to be trusted or simply laying out a guide for disorientation? "Pearling Woes" is a queasy ballad sung by a robot on a very special comedown. "Keloid" knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporize. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop, and experimental forms. On Feather and Wire is a deep absorbing trip through multiple moods, genres, and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is "Ordine Kadmia"? What are they saying to me, here we go, on and on... With its haunted vocals, coded linguistics, and dark sensual propulsive atmosphere, On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive. Images by Dimitrios Bizios; Artwork by Nik Void. Written and produced by Mika Hallbäck Vuorenpää; Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö; Mixed by Oscar Mulero at Dead Souls Studio Gijón; Mastered by Stephan Mathieu.
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2LP
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EMEGO 300LP
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$31.00
PREORDER
RELEASE DATE: 2/26/2021
Double LP version. "This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017. This material is the last concert he has gave. It took place at Cave12 on 02.02.2017. We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker. After this listening, we felt invested in having to make this archive public. In order to edit and work on this material, we asked Carl Michael von Hausswolff to do the mixing. At our request, this recording was organized in four movements. Stephen O'Malley kindly joined in the pre-edit process that took place on August 24 2020 at EMS Studios, Stockholm. Denis Blackham did the mastering. This process was carried out in collaboration with Rikke Lundgreen." Recorded 02.02.2017 at Cave12, Geneva by Benjamin Ephise; Edit by Stephen O'Malley and Carl Michael von Hausswolff at EMS, Stockholm; Mastered by Denis Blackham. Vinyl cut by Andreas Kauffelt at Schnittstelle, Berlin; Artworks by Franz Graf, Mika Vainio Archive, Oslo and Cm von Hausswolff collection. Cave12/Editions Mego co-release.
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CD
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EMEGO 300CD
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$17.00
PREORDER
RELEASE DATE: 2/26/2021
"This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017. This material is the last concert he has gave. It took place at Cave12 on 02.02.2017. We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker. After this listening, we felt invested in having to make this archive public. In order to edit and work on this material, we asked Carl Michael von Hausswolff to do the mixing. At our request, this recording was organized in four movements. Stephen O'Malley kindly joined in the pre-edit process that took place on August 24 2020 at EMS Studios, Stockholm. Denis Blackham did the mastering. This process was carried out in collaboration with Rikke Lundgreen." Recorded 02.02.2017 at Cave12, Geneva by Benjamin Ephise; Edit by Stephen O'Malley and Carl Michael von Hausswolff at EMS, Stockholm; Mastered by Denis Blackham. Vinyl cut by Andreas Kauffelt at Schnittstelle, Berlin; Artworks by Franz Graf, Mika Vainio Archive, Oslo and Cm von Hausswolff collection. Cave12/Editions Mego co-release.
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LP+12"
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EMEGO 292LP
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Coventry's most notorious export celebrates 50 years of existence with an expansive new set on Editions Mego. Spread across two x vinyls (LP and 12"). Please note the 12" tracks are exclusive and do not appear on the digital release. Having spent decades carving out his very particular niche which takes influence from a vast range of extreme music this is Russell's nostalgic nod to his influences whilst forging onwards with his perpetually unforeseen experience. Working in a variety of media over decades Russell Haswell's belligerence towards his craft and critique of others has allowed him to operate in a zone outside of peers. As daunting as it is refreshing Haswell's output is always on the very edge of genre. 2001 saw the release of his first audio documentation with Live Salvage 1997→2000 (MEGO 012CD), a compact disc that compiled a series of ferocious live performances. Paradoxically precise and reckless, Haswell's music has an uneasy relationship with the predictable but acknowledges being birthed from a variety of 20th Century radical forms such as metal, noise, electro-acoustic, power electronics, and techno. Haswell's ongoing output resides as a continuously in-flux, inquisitive and predominantly improvised exploration of the extreme limits of machine-based art. Haswell has never been a "studio artist" or "producer". 12" channels the original role of the medium with two tracks of beats that present themselves in unpredictable ways. 12" also features the head shattering bonus cut, "Always Check Their Instagram". LP cut at 33rpm allows explorations into broader territories with deep ambience running into twisted acid and splattered shapes bouncing amongst rapid fire rhythms. This set is both a celebration of new forms whilst making many a sly nod to nostalgic influence throughout. LP+12" is an unexpected experience from one of contemporary music's most ruthlessly exhilarating and uncompromising figures. Raise a glass and listen LOUD. NOTE: The tracks on 12" are exclusive to the format not available on any digital format. Recorded December 2019-February 2020. Mastered: March 2020. Used = ADDAC Systems, ALM/Busy Circuits, Cwejman, Epoc Modular, Expert Sleepers, FANCYYYYY Synthesis, flight of harmony, Make Noise, Tiptop Audio...
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LP
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EMEGO 274LP
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In retrospection, it seems significant that Reinhold Friedl and Eryck Abecassis met for the first time in Marseille, a brute and operatic melting pot of cultures and sounds and noises. They idea of a common project came up, but it took almost ten years to be realized. Finally, François Bonnet (GRM artistic director) supported enthusiastically the collaboration and invited the two composer-performer to the Akousma Festival 2019 at Radio France in Paris. Intense rehearsal periods in Vienna and at la muse en circuit in Paris defined the compositional directions: precise transitions between accurately defined musical states: the raw furious energy textures of "animal électrique 1" and "5", the contrasted calm with shaking fog horns "à la Lucier" of "animal électrique 3" and "6", noise and notes in the astonishing fusion of "animal électrique 2" (which could also be titled "Tsunami and minor thirds"), and finally the delicate non-tempered vocality of both piano and synthesizer in "animal électrique 4", a detuned operatic aria. Animal Électrique is a melting point of piano and synthesizer, both put into musical travesty: the piano becomes a sound and noise machine, with strong electronic influence; the analog synthesizer starts to sing and to hoot, producing raw and brutal instrument-like sounds, in line with brute electronic synthesis. This allows Eryck Abecassis and Reinhold Friedl to combine the exigence of composing with the instant pleasures of the game. Personnel: Reinhold Friedl - piano; Eryck Abecassis - analog synthesizer. Recorded by Grégory Joubert at Studio Luc Ferrari, La Muse en Circuit, CNCM, Paris, France, June 2019. Mixed by Eryck Abecassis. Mastered by Russell Haswell. Cut by Andreas Kauffelt at Schnitstelle, Berlin.
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LP
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EMEGO 290LP
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After two years since her debut full-length release, Grand River presents her second album Blink A Few Times To Clear Your Eyes on Editions Mego. The eight track LP shows an evolution towards a more experimental side of the Dutch-Italian composer which is here superbly combined with her ability of creating melodies previously heard on her double-LP Pineapple, released on Spazio Disponibile in 2018. Blink A Few Times To Clear Your Eyes expresses how acoustic instruments can be perfectly merged with electronic and analog synthesizers to become one new organic whole. The composer, whose birth-name is Aimée Portioli, brings the listener along on her personal explorational journey of expressions within a certain genre. The title of the album indicates the desire to explore what is new and see what is around us from different perspectives. The album opens with the track "Side Lengths", a complex and dreamy sequence made with one of her favorite synthesizers, the Yamaha DX-7. From there we are brought from extended panoramic sound design and cinematic ambiences, back and forth to synthetic melodies, field recordings, strings and for the first time ever, Aimée's own modified voice in the closing track, "All There Now". Recorded primarily at her home base in Berlin, Grand River's music is pure, magnificent and elegant which documents a solemn atemporal story where her experiences are translated into another language. Mastered by Giuseppe Tillieci at Enisslab Studio, Rome. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Original artwork by Nathan Melaragno. Typography by Marco Ciceri.
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LP
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EMEGO 288LP
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Vanish is Julia Reidy's yearning, fat debut for Editions Mego. Since 2019, Julia's bubbling 12-string guitar work -- sighing streams of crystal plucks drawn closer or echoing on -- has moored a tactile, ever-lusher sound. On "Guitar", the Australian, Berlin-based musician melts down sharp synths; electric fuzz and flex; uncanny found sounds; and autotuned voice and harmonica in a heady, overpowering potion. Reidy's music sweeps you up. It's restless, always traveling on. Lonesome tones into machine chorales into hesitant hum. The LP's side-long cuts sway between scenes but are always rooted: Julia's guitar and vocal lines seem mapped to the natural ebb-and-flow of breath and thought, they lull you as they push through vast and secret spaces. Vanish completes a trio of releases begun with last year's brace, brace (Slip, 2019) and In Real Life (BT 051LP). The delicious unease, the anxious burning of the preceding volumes has settled, becoming more wide-eyed and resolute. For all its poise, the album's sense of build -- electric licks rasping into glistening synths, punctured by distant kicks -- feels freshest. When "Oh Boy"'s smudged whistle comes, it has fought its way out of the thickets, and hits like heartbreak. Music by Julia Reidy. Mixed and mastered by Joe Talia at Holding Pattern Berlin, June 2020. Artwork by Suze Whaites. Layout by Nik Void. Impossible without: Suze Whaites, Adam Pultz Melbye, Manuel Pessoa de Lima, David Walker.
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2LP
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EMEGO 289LP
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2021 repress. KMRU is the moniker of Joseph Kamaru, a sound artist and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond, he was listed by Resident Advisor as one of "15 East African Artists You Need To Hear" in 2018 and is a regular performer at the fabled Nyege Nyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. An exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound, revered for its ability to cross borders with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient music both captivating through its textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: "Why Are You Here", "Well", "Solace", "Klang", "Insubstantial", and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens. All tracks written and produced by KMRU. Recorded and produced in Rimpa, (Nairobi, KE). Mastered by Stephan Mathieu at Schwebung Mastering, June 2020. Photography: Claudia Mock; Layout/Design: Nik Void.
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LP
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EMEGO 287LP
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A new timely studio album from the duo of Peter Rehberg and Stephen O'Malley. Recorded and mixed during an unexpected extended stay in Berlin when the borders of the world suddenly closed. The claustrophobic urgency of this scenario is seared into the colossal vibrations set into this vinyl release. Unlike many of their releases this is a studio record made unto itself as opposed to the many soundtracks they have made for theater works and the like. It also stands as one of their most fully realized releases to date. Proceedings are launched with "The Director". Sitting somewhere between contemporary classical and doom this is a sliding and menacing mass of sound, more Masque of the Red Death than The Decameron. Silver lining is an alarming swooping buzzing track, looming and lowering only to rise and descend again. A delicate play with the Shepard-Risset glissando manifesting a delirious swarm of sound. Lee's garlic orbits into a short, fragmented zone with bursts of harsh feedback and crashing fx, all manner of audio enters and is discarded with an underlying sense of despair and frustration. Proceedings continue on Side B with "Tea With Kali" where a calmer plateau is embedded with oscillating guitar and fluttering electronics. Beating sine waves envelop the listener in a meditative thought piece of sound. Frostless concludes this epic dispatch as a subtle and gentle foray into twitching electronics as a light buzzsaw drone swirls as around your mind. The interplay of sources -- guitar, electronic equipment (hardware, software, speakers) -- is so entwined it's often difficult to discern who is doing what amongst the broad sound field. KTL's VII is instrumental music as visual narrative resulting in an exquisitely crafted release full of sophisticated and sublime illusory effects. Berlin, Spring 2020; Written and produced by KTL, Stephen O'Malley and Peter Rehberg; Recorded and mixed at MOM Paraverse Studios, Berlin, March and May 2020; Engineer: Andi Toma (mix), 2nd Engineer: Constantin Carstens (recording); Mastered at Zino Mikorey Mastering, Berlin, May 2020; Cut by Andreas Kauffelt at Schnitstelle, Berlin, June 2020.
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CD
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EMEGO 282CD
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Not approved by the FDA "Like La Monte Young and The Incredible String Band stuck in an elevator." In the process of relocating to Den Bosch's Willem Twee Studios, The Transcendence Orchestra let love slip deftly out of its gate and reverberate around the walls of the studio's main hall, a high ceilinged former synagogue in the city's old town. Working intensively to capture its echoes, they coaxed it to appear in pipes and strings, directed it through resonant circuits and shepherded it round the room with beaters, horns, and rattles. Having returned home with the recordings, a purpose began to emerge. Through a process of extensive reconfiguration and testing it became clear that the love contained within could transform perception. Under the right circumstances, and accompanied by appropriate technology, it could serve as a map for navigating beginnings and endings. Like some distant mesmerizing chant or a psychedelic folk song, it could connect us and reassure us that we can pass through the boundaries and survive. Perhaps not intact but at least whole. Here is that map, love soaked diligently into its lines, ready to guide those at a loss or reassure those willing to explore.
Written and produced by Anthony Child and Daniel Bean. Mastered by Stephan Mathieu at Schwebung Mastering, January 2020. Cut by Andreas Kauffelt at Schnitstelle, Berlin, February 2020. Cover art: Vidya Gastaldon L'ange de l'apocalypse (d'après Danby), 2012 Acrylic and oil on canvas; Courtesy the artist and art: Concept, Paris, from the collection of Musée de L'abbaye Sainte-Croix.
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LP
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EMEGO 285LP
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Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It's a tense obscure record that teases you into its peculiar vortex from its suggestive nature of exploring the enigma beyond its haunted facade. "VICIOUS WATER REGIMES" stutters along as an "ugly" mass of grey electronica. "CAST(O)RO" shines from light from the depths with its occasional foray into glistening tones. "COLONIA MARINA SERENELLA" is a dank squelching backdrop for a dark age. "CAST" twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. "LET SHARKS SLEEP" is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with its relentless repetition. "WIDOW WALKS" gallops and creaks along a path veiled in whispers. "ENGE" lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable. SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within. Recorded and produced in Vienna, Waldviertel, Crete as well as on planes and in cemeteries, 2018-2019. Mastered by Russell Haswell, January 2020. Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2020. Artwork by Susi Klocker.
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2LP
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EMEGO 282LP
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Double LP version. Not approved by the FDA "Like La Monte Young and The Incredible String Band stuck in an elevator." In the process of relocating to Den Bosch's Willem Twee Studios, The Transcendence Orchestra let love slip deftly out of its gate and reverberate around the walls of the studio's main hall, a high ceilinged former synagogue in the city's old town. Working intensively to capture its echoes, they coaxed it to appear in pipes and strings, directed it through resonant circuits and shepherded it round the room with beaters, horns, and rattles. Having returned home with the recordings, a purpose began to emerge. Through a process of extensive reconfiguration and testing it became clear that the love contained within could transform perception. Under the right circumstances, and accompanied by appropriate technology, it could serve as a map for navigating beginnings and endings. Like some distant mesmerizing chant or a psychedelic folk song, it could connect us and reassure us that we can pass through the boundaries and survive. Perhaps not intact but at least whole. Here is that map, love soaked diligently into its lines, ready to guide those at a loss or reassure those willing to explore.
Written and produced by Anthony Child and Daniel Bean. Mastered by Stephan Mathieu at Schwebung Mastering, January 2020. Cut by Andreas Kauffelt at Schnitstelle, Berlin, February 2020. Cover art: Vidya Gastaldon L'ange de l'apocalypse (d'après Danby), 2012 Acrylic and oil on canvas; Courtesy the artist and art: Concept, Paris, from the collection of Musée de L'abbaye Sainte-Croix.
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LP
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EMEGO 284LP
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The Oystercatcher is the first collaborative LP from Cucina Povera (Maria Rossi) and ELS (Edward Simpson). Recorded in London over two days during the summer of 2019, hours' worth of improvisations has been edited down to form these six tracks. A fragile interplay is at work between Maria's drifting vocals and the ominous churn of Edward's modular synth. Each sonic element takes a turn at leading the way. The opening track "Mantle" is formed from sparse, monolithic electronics, woven gently with a thread of vocals. In the closing track "Eon" Maria's voice shepherds spontaneous bursts of sounds, almost rave-like if order were imposed, through 15 minutes of turmoil and resplendent until the end. Maria's vocals make their own trails amongst the noise, bringing to mind the exploratory language from Ursula K. Le Guin's album Music and Poetry from the Kesh (1985), recalling the same understated mystery. The overall effect of this collaboration is a completely unique creation albeit within a recognizable lineage of predecessors. The artwork reflects the vision of these two artists, collaged together. Both images are from a trip to Helsinki. Edward's photograph of tulips caught after dark are reviled by a flash. Maria's seemingly abstract drawing is a graphite rubbing taken from a granite slab of a pavement somewhere in Kallio. Together the two images represent two different methods for capturing a city's haptic landscape. The album moves with a feeling of transience, which is no surprise given that the idea to collaborate was formed in Helsinki, realized in London and edited together in Rotterdam. The Oystercatcher tells a fragile tale, one that spins out into the unknown. A cold union of voice and machine, still tentative and probing, learning to co-exist. A kind of fundamental shift whereby shared moments have been turned to sound. The Oystercatcher is a bird that can freely travel between the earth, sea and sky. The motif is taken from a Tove Jansson short story. A dead bird washes ashore, two different versions of events are presented to how the bird came to die. The album feels like two different stories being presented on top of one another but ultimately coming to the same tragic conclusion. Cucina Povera is Maria Rossi - vocals; ELS is Edward Simpson - synthesizers. Mastered by Russell Haswell.
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LP
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EMEGO 276LP
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France Jobin on the release: "The last two years have seen me maintaining an association with an unusual bedfellow, death. The loss of Mika Vainio, as well as three members of my own family, has had a profound effect on me and spurred a lengthy reflection on life, death, and everything in between. Parallelly, while studying the philosophy of science, I came across shadow photons:
'Tangible photons are the ones we can see or detect with instruments whereas shadow photons are intangible (invisible) detectable only indirectly through the interference effects on the tangible photons. There is no intrinsic difference between tangible and shadow photons: each photon is tangible in one universe and intangible in all the other parallel universes. They travel at the speed of light, bounce off mirrors, are refracted by lenses, and are stopped by opaque barriers or filters of the wrong colour. Yet, they do not trigger even the most sensitive detectors. The only thing in the universe that a shadow photon can be observed to affect is the tangible photon that it accompanies. This is the phenomenon of interference. Shadow photons would go entirely unnoticed, were it not for this phenomenon and the strange pattern of shadows by which we observe it. Thus, the existence of a seething, prodigiously complicated hidden world of shadow photons has been inferred.' --The Fabric Of Reality, David Deutsch, Penguin Press 1997.
I have drawn a parallel between shadow photons and death. The interference phenomena, parallel universes, and how shadow photons affect tangible photons they accompany, offer, in my opinion, similarities, an unknown universe which is death and how we, remaining tangible human beings, are affected. This quest has led me to be more willing to accept chaos in my life and to conclude that Death is perfection, everything else is relative."
All sounds recorded at various locations in Europe, South America, and at EMS, Stockholm using the Buchla 200 modular synthesizer. All sounds recorded with Klara Lewis in Montreal 2018. Mastered by Russell Haswell, January 2020. Cut at Schnittstelle, Berlin by Andreas Kauffelt, January 2020.
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EMEGO 281LP
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C. Lavender is a New York based sound artist and sound healing practitioner whose third full-length album explores meditative physical rituals of sound with binaural recordings from inside a geodesic dome in the Catskill Mountains of New York. "The future is a choice between utopia and oblivion," noted architect, futurist, and geodesic dome theorist Buckminster Fuller. Myth Of Equilibrium delves into these divergent paths by featuring equal parts of pastoral raw acoustic percussion combined with C. Lavender's signature "devastating caustic drones" (Ad Hoc) via her custom bass guitar and synthesizers. An assistant to the late pioneering electronic composer and Deep Listening founder Pauline Oliveros, C. Lavender's astute editing and the binaural recording process places the listener within the heady fluctuating underworld she has created on this album. The recording environment of the geodesic dome allowed for sounds to transfer out beyond the confines of the walls as well as allowing outside sounds from the surrounding wilderness to permeate in like that of a mutating cell. The album suggests "headphone listening" for the full hypnotic experience Myth Of Equilibrium presents to the listener. C. Lavender is a 2020 Pioneer Works (New York) Music Artist-in-Residence. Photography: C. Lavender; Design: Richard Chartier. Recorded 2018-2019 at the Outer Inn Studios Dome (Catskills, NY). Mastered by Taylor Deupree at 12k Mastering.
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LP
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EMEGO 272LP
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Second outing from Kassel Jaeger and Jim O'Rourke following the release of Wakes on Cerulean on Editions Mego in 2017 (EMEGO 223LP). Covering a vast terrain with delicacy and poise this new release unveils a spectral showcase for all manner of deep abstraction. The first side positions itself somewhere between stoned komische synth and more nuanced electroacoustic tactics, all weighted by a melancholic undertow. The second side builds on the tension of the former as an undulating drone teases all variety of matter to rise and fall amongst the foreign space it inhabits. The effect creates an enormous sense of deep space before subsiding into a smaller more anxious flickering world. All manner of machines fold into play; digital machines, industrial and analog machines. The seemingly random yet ordered nature of events is reminiscent of the behavior of the natural world providing this machine driven release a convincing organic feel. Whether invoking mirrors, distant galaxies, or a pond of frogs, it is a delightful challenge to focus and locate what is nature and what is nurture. To play this loud is to immerse oneself in a fascinating journey which carries the listener through an array of dizzying emotional states.
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LP
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EMEGO 277LP
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Upside Down Smile was recorded and produced by Ewa Justka and by self-designed, self-made, selfselfself, odd looking slightly dysfunctional synthesizers and by a trance purple killer Roland JP8080 and by his brother Virus and some other Roland Brothers. No sisters included during the time when Ewa Justka, who currently lives in Glasgow, Govanhill, Allison Street, where recently her passport was stolen due to the burglary, where she lives in joy, although sometimes the floor gets wet due to the leaking windows and sometimes one can find dead pigeons laying on the staircase. But it's nice and cozy and Ewa Justka, highly influential person in the deep dark transistor ladder circuits, lives there since she is studying PhD at Edinburgh College of Art where she thinks a lot about imitation in synthesizer design and filters and VCOs and formants and acid and hardcore music and Twin T filters and operational amplifiers. She turns knobs and thinks and the Upside Down Smile album was made in the depth of those thoughts, quite often sad thoughts. Upside Down Smile is a bit of a cynical smile but an honest smile. Cynical but honest Upside Down Smile is a smile through tears but tears of joy, Scottish joy. Upside Down Smile is upside down acid one could say. Upside Down Smile could be interpreted as a sad smile but it is a smile in the end of the day. Mastered by Russell Haswell. Download card includes three additional tracks.
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LP
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EMEGO 275LP
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Finlay Shakespeare is a freak. With this, his second album for Editions Mego confirms this. As a one man band it often strikes the listener as bewildering that he can do all this; the programming sits firmly in the realms of genius, the constant punch of melody upon melody leaves a pleasant sting of surprise and as a lyric writer there's a part of his moniker that seems apt. Solemnities is more gritty than his previous outings as a more raucous industrial edge is grafted on to his epic electronic pop leanings. "Occupation" launches proceedings as a snarling electro pop monster. Finlay's vocals have never been delivered with such urgency. From here it's one melodic banger followed by another as Shakespeare truly hones his voice and craft into something utterly of his own devising, despite, or as a result of, the specific world of electronic music he is referencing. Covering a wide range of emotional states, from anger to euphoria this is a wild complex dip into one man's world perfectly crafted into an external release. "She Says / Nothing Ends" concludes proceedings with an anthem so bold it would be a worldwide hit if the world could be told. Find a comfortable position, turn Solemnities up loud and let Finlay take you on this startling spectacular trip. All material written, performed, produced and recorded by Finlay Shakespeare. Mastered by Cicely Balston. Artwork by Meggie Wood.
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EMEGO 270LP
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Following 2018's acclaimed collaboration with Simon Fisher Turner, Care (EMEGO 253LP), Swedish sound artist Klara Lewis returns with Ingrid, her third solo release for Editions Mego. Ingrid is a departure from Lewis's previous solo outings, drifting from the eerie rhythmic variations of Too (EMEGO 210CD/LP, 2016) and Ett (EMEGO 190LP, 2014) and moving assuredly into long-form experimentation. The piece retains those records' pulsing core and builds on a single cello loop that is steadily enveloped by a surge of distortion. It's almost like a voice or chant, shifting pointedly from a whisper into a scream before singing peacefully into the light. At times, Ingrid is reminiscent of William Basinski's looping melancholy or Steve Reich's controlled and innovative phase experiments, while at others, it recalls the chaotic Scandinavian physicality of black metal. Yet, the entire composition is anchored in Klara Lewis's distinct emotional world. By dissolving familiar and beautiful strings in baths of noise, Lewis allows something violent but tender to grow in its place. In a society struck through by cynicism, Ingrid is a cathartic listening experience and a beacon of hope. One-sided LP. Mastered by Sarah Register. Cut by Andreas Kauffelt at Schnitstelle, Berlin.
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EMEGO 278LP
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"Produced within the context of 'The Guidebook of Church Burners' publication release, this performance was recorded at visual arts institution LE BAL in Paris, May 4th 2018. Published by Païen in a limited edition, the book explores and transforms into an abstract narration the multiple facets of black metal iconography and history. Emerging from a dialogue between sound and image, the otherworldly piece created for that evening by Stephen O'Malley is a result of this collaboration." --Emilie Lauriola Cover photo by Elodie Lesourd, Charleroi 2017. Mix and mastered by Stephan Mathieu, Schwebung November 2019. Vinyl cut at Schnittstelle, Berlin December 2019.
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2LP
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EMEGO 271LP
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Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects. Susanne Kirchmayr's new album takes a close personal look at the spectral richness of iron and other metals, in various shapes and sizes, recorded, processed, and arranged to a carefully curated selection of musical miniatures. Some of the results are an obvious nod to her Electric Indigo DJ alias, music that could be played on the dancefloor of an alien cargo ship, both highly familiar and foreign at the same time. Others offer almost steady-state like meditative qualities, vibrations from deep within, on a sub atomic level, full of light and motion on the tiniest possible scale. The limitation in material opens up a seemingly unlimited world of colors and rhythms, oscillating, resonating, and highly immersive. Mastered by Rashad Becker. Artwork by Tina Frank.
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EMEGO 273LP
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Editions Mego release the new album by Australian producer Jasmine Guffond. Developed over a two-year period, Microphone Permission is an unsettling musical journey utilizing contemporary tools of communication to display Guffond's ongoing research into online surveillance and sound as a method of investigation. Source material on Microphone Permission are from various projects Guffond has been working on; a commission to sonify the data of the city of Melbourne, a dance performance about the future sounds of an extinct forest, an installation that sonifies Twitter meta data in real time, a job as a composer for a theater work about music and feminism by five young female identifying performers in Western Sydney and a site specific installation at the Linachtalsperre dam that employed the harmonic frequencies of electric currents. The results are a stark, brooding, disorientating journey into a paranoid musical field that sits somewhere between ambient club music and a dystopian soundtrack. Elements of techno, classical music, and sound art form a dark intriguing masterwork that questions the nature of invasive, algorithmic, and computational listening practices. For example, Microphone Permission refers to the consent we routinely give when installing various apps onto our smart devices. Inspired by a 2018 scandal in which fans of Spain's most popular soccer team were effectively turned into unwitting spies by granting the La Liga application microphone permission. No matter which make or model, all smart devices are built with a microphone that is by default, forever listening. Listening in these situations often takes on an algorithmic form that enables tech developers to bypass public response to what is intuitively considered invasive practice, that is, traditional modes of eavesdropping such as using the microphone to listen and record audio. Composed, recorded, and produced by Jasmine Guffond. Image by Ilan Katin; layout by Nik Void.
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EMEGO 265LP
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Molocular Meditation is a bespoke light and sound environment featuring the voice of the Fall's Mark E Smith. Smith is heard making observations on mundane objects, events, and a range of meditation techniques basically associating his discontent with an apolitical British upper class. His voice forms the narrative component of an electroacoustic composition by Jan St. Werner placed in a hyper-real scenario evoking a state of transformation and deceleration. "Molocular Meditation" premiered at Cornerhouse, Manchester in 2014. This album presents a re-edited and remastered stereo version of the original multi-channel piece. Voice and guitar feedback were recorded at Blueprint Studios Manchester, electronics in Werner's studio in Berlin. The B-side consists of unreleased new work partly written around the same time as Molocular Meditation in context of Werner's Fiepblatter Catalogue on Thrill Jockey. "Back To Animals" is a non-metric rhythmic exercise frantically hybridizing percussive accents with synthesized pulse. "On The Infinite Of Universe And Worlds" is an electronic opera based on Giordano Bruno's Renaissance writings which Werner was asked to conceptualize for new music festival Music Nova in Finland. "VS Cancelled" finds Mark E. Smith reading an email from Domino Records explaining their discontinuation of the Von Sudenfed project a band Mark E. Smith had founded with Mouse on Mars' Jan St. Werner and Andi Toma in 2006. Their debut album Tromatic Reflexxions came on Domino out in 2007. Artwork by Rupert Smyth Studio. Pre-master Andi Toma; Master Zino Mikorey.
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LP
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DOME 004LP
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With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: Dome (July, 1980), Dome 2 (October, 1980), and Dome 3 (October 1981). A final fourth album, Will You Speak This Word: Dome 4 was released on the Norwegian Uniton label in May 1983. These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. Personnel: G. Lewis and B.C. Gilbert - instruments, voices, production; Vincent Clarke - voice, Fairlight computer synthesizer, track 1; Deborah Danahay - voice, track 1; David Drinkwater - violin, track 1; Terrence Leach - saxophones tracks 1, 3, 4, and 6; Eric Radcliffe - engineer. Previously issued in the out-of-print Dome 1-4+5 box set in 2011. Floating-point re-master by Russell Haswell, August 2011. Cut at Dubplates & Mastering by Rashad Becker, August 2011. New artwork by Dave Coppenhall. Includes download card.
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