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2LP
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EMEGO 261LP
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$31.00
PREORDER
RELEASE DATE: 2/1/2019
The playful confidence that exudes Finlay Shakespeare's practice is flagrantly laid out on Domestic Economy, his extraordinary debut full-length. Domestic Economy displays two eventful sides evidencing the unique musical approach Shakespeare has developed in such a short period of time. Let's get some facts straight, Finlay is young. And talented. His programming skills belie his years and one can detect a sharp appreciation of historical electronic pop whilst simultaneously developing a canny understanding as to where such a form exists in the current age. Shakespeare's brazen lyrical content and significant melodic prowess highlight a brave new voice in what can often be a sterile aesthetic environment. Domestic Economy bursts with edgy ecstatic electronic pop. A form not only unusual for Editions Mego (actually known for idolizing such forms) but somewhat of a scarcity amongst the modern electronic landscape. Belying age, form, and movement, Domestic Economy is a damn near perfect amalgamation of historical respect and contemporary anxiety wrapped in an exquisite song-form package. Made in Bristol. Published in Wien. Delivered to all brains, like a wayward dream. Artwork by Nik Void. All original material improvised whilst recorded live; All revisions made to pre-existing material carried out at B17, July-August 2018; All material by Finlay Shakespeare, except saxophone and clarinet on "Amsterdam" by Zoë Hutton and bugle on "Heston" by Jamie Neale. Mastered by Russell Haswell.
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7"
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EMEGO 260EP
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Snapshot release by new Editions Mego signing, the Bristol-based Finlay Shakespeare. Routine is a twitchy electro monster confronting the listener with a worked up a blend of AFX, Cabaret Voltaire, and New Order. The B-Side "Perris" propels itself as a crazed analog drama that is as ambitious as it is unholy. Simultaneously a modern throwback to the brooding synth pop age and an absolute belter in the contemporary mainframe, Finlay Shakespeare has made it quite clear, that he is here.
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LP
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EMEGO 249LP
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Hence is the third collaborative release from Oren Ambarchi and Jim O'Rourke, following on from Behold (EMEGO 176LP, 2015). Building on the refined combination of electronics and acoustic instrumentation found on their previous releases, Hence presents two side-long pieces combining synthesizers, heavily effected guitar tones, and tabla rhythms played by special guest Uzhaan. On the first side, an explosive opening chord sends out ripples of sparse, irregularly pulsing guitar and synthesizer tones, aleatorically changing in pitch and jumping around the stereo image. Combined with the tabla, which gradually builds in busyness throughout the side, the piece is like a dream collaboration between David Behrman and the Henry Kaiser of It's A Wonderful Life (1984), gradually overtaken in its second half by a swarm of lush live electronic sizzle. The second side begins in a similar area, combining tabla, shimmering Leslie cabinet guitar tones, and a wandering melodic line. Undergoing a series of subtle variations, this initial area eventually builds to a climax of twittering synthesized birdsong reminiscent of Alvin Curran's '70s work. As on the first side, Ambarchi and O'Rourke craft a piece that is both comforting and subtly strange, as the constantly shifting dynamics and changes of focus (which recall the flow of improvised music) refuse to allow the music to settle into any one moment for too long or to build in too linear a fashion. Combining influences from post-minimalism, the pioneers of live electronics, and eastern music into a unique sound world, Hence is a seductive work from two of the most singular sensibilities in contemporary music. Cut by Rashad Becker at D&M, Berlin. Photos by Traianos Pakioufakis. Sleeve/type design by Stephen O'Malley.
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LP
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EMEGO 254LP
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Ilpo Väisänen returns to Editions Mego under the guise of I-LP-ON with, ÄÄNET, an immense tribute to the outfit he played in alongside his friend and former creative partner Mika Vainio. ÄÄNET takes inspiration from the life of Pan Sonic, the outfit they inhabited for over two decades. Recorded in Kuopio, Barcelona and Karttula, ÄÄNET is made up of a series of miniatures that harness the many shadows this legendary act absorbed: industrial, ambient, dub and club all figure into this edgy slow burning menace of a release. Featuring recordings made on the 2000 Pan Sonic world tour, Väisänen has crafted a unique homage to the outfit which redefined experimental electronic music by embracing pulsing club aesthetics coupled with more abstract avant-garde tendencies. The seismic fingerprint left by Pan Sonic avoids dating and genre identification finding a new definition here both as a nod to a notorious past whilst laying the groundwork for reigniting something utterly contemporary. ÄÄNET is an essential release of Väisänen's as it allows further expansion and broadening of the paths carved out from this resolutely unique form of scratchy and sublime electronic music. All music and sounds by Ilpo Väisänen. Recorded at Kuopio, Barcelona, and Karttula. Contains (field) recordings from 2000 Pan Sonic world tour. Mixed at Juniper & Stone, Karttula, Finland. Record is influenced by the life of Pan Sonic. Recitation on B9 by Ilpo. Conversator on B3 Dave Burton. Mika photo by John Duncan. Mastered at Dubplates & Mastering. Cover by Ilpo, layout/typo via Soma. Mika Vainio 1963-2017.
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CD
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EMEGO 257CD
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On Throne, Heather Leigh takes her place as queen of pedal steel with a suite of heart-rending ballads cauterized with burning riffs. After the rawness of its precursor I Abused Animal (SOMA 023LP, 2015), Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multi-tracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. "Prelude To Goddess" sashays in wearing leopard-print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by "Lena" -arguably Leigh's "Jolene" - a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. "Soft Seasons" is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody. "Gold Teeth", the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again. "Days Without You" and "Scorpio & Androzani" are shorter, intimate songs; in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on "Days Without You", a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fugue of psychic disturbance and lovesick sensuality. Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel. Additional instrumentation by John Hannon (violin, synthesizer) and David Keenan (electric bass). Recorded and engineered by John Hannon, Rayleigh, Essex, March 2018. Photographs and design: Heather Leigh.
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LP
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EMEGO 257LP
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LP version. On Throne, Heather Leigh takes her place as queen of pedal steel with a suite of heart-rending ballads cauterized with burning riffs. After the rawness of its precursor I Abused Animal (SOMA 023LP, 2015), Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multi-tracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. "Prelude To Goddess" sashays in wearing leopard-print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by "Lena" -arguably Leigh's "Jolene" - a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. "Soft Seasons" is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody. "Gold Teeth", the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again. "Days Without You" and "Scorpio & Androzani" are shorter, intimate songs; in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on "Days Without You", a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fugue of psychic disturbance and lovesick sensuality. Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel. Additional instrumentation by John Hannon (violin, synthesizer) and David Keenan (electric bass). Recorded and engineered by John Hannon, Rayleigh, Essex, March 2018. Photographs and design: Heather Leigh.
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12"
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EMEGO 239X-EP
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Two new tracks from UUUU, featuring members of Coil, Wire, and Tomaga. The motorik music hinted at on UUUU (EMEGO 239LP, 2017) is given space to unfold here. "Electric Blanket" chugs along with perpetual percussion, blankets of feedback and state-of-the-art electronics all embedded with a spectral melody that moves into more mystical ambient planes. "Nice Setting" places a strange short spoken narrative at the center of a shifting sonic landscape of skittering electronic debris and a deep shifting sea of sound. A vibraphone holds proceedings together as well. UUUU are Edvard Graham Lewis, Valentina Magaletti, Matthew Simms, andThighpaulsandra.
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LP
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EMEGO 253LP
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Editions Mego present the first outing from the legendary English musician, songwriter, composer, and producer Simon Fisher Turner alongside the highly acclaimed emerging Swedish sound artist Klara Lewis. Care is a unique outing rife with delicious dichotomy. The opening track positions the aggressive directly against more fragile moments. On the subsequent track medieval melodies sprout from a dense rhythmic hiss. Witness a Middle Eastern song appearing amongst a haunted rattling reverb in the epic "Tank", whilst a beautiful force of hope can be found within the sound world of closing track "Mend". The wide scope of references and constant pull of forces make this debut offering a timeless patchwork of sonic spaces. Care is an album which sways in such a salubrious manner one can't help but delight in its unique form of location/disorientation.
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EMEGO 250LP
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Editions Mego's 250th release continues its ongoing legacy of cross-pollinating and perverting various threads of radical 20th century music whilst concocting and propelling further ideas into the nebulous region where we all currently reside. With Ex Nihilo, Editions Mego resumes its enduring relationship with long-term collaborator and stalwart representative of the label's aesthetic with a new release from London's most charming deviant occupant, Bruce Gilbert (formerly of Wire, Dome, etc.) Gilbert's peculiar approach to sound over four decades has seen him engage with a wide variety of practice and performance always hovering amongst the grey area between his mind and the surrounding architecture. Ex Nihilo is another significant entry into Gilbert's outer sound-book. Inhabiting a murky zone between interference and trauma, Ex Nihilo is a daring and dark audio ride through a contemporary ketamine haze, one which haunts identifiable parameters whilst remaining too oblique to be truly quantified. "Change And Not" teases discomfort, "Black Mirrors" embraces disorder, "Nomad" skirts the unsettling. Whilst never quite resolving its own logic, Ex Nihilo invites the casual listener to privy a devastating peculiar and somewhat paranoid fantasy (reality?). Another effortless Gilbert classic. Design: David Coppenhall; front image/concept: Bruce Gilbert. Mastered by Russell Haswell. Cut by Rashad Becker at Dubplates and Mastering, Berlin.
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EMEGO 248LP
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Jung An Tagen is practicing sonic animism on a molecular level. With Agent Im Objekt he confronts his listeners once more with a form of highly abstracted electronic music -- puristic club sounds for an accelerated future. Kicking off with an accumulation of high-pitched, psychoactive sounds, Agent Im Objekt takes you into a hyperreal sphere reigned by sonic entities. Playing with swarm-dynamics and singular signals, moments of distance and proximity and noise textures that stimulate perception, Jung An Tagen transgresses the common syntax of club music. His strategies resemble computer music composition and focus on timbre, texture, and structure in an almost analytical way. The sounds filtered from his synthesizer are polished and bright, but behave in an astonishingly organic way, forming propulsive melodic sketches. Arranged in multiple layers of versatile polyrhythms, the tracks are nurtured by the forceful dialectics of precisely arranged chaos and ecstatic order. With his titles, Jung An Tagen is further adding an enigmatic narrative to his tracks, transcending the actual sphere of the dancefloor towards fictional storytelling. Following the structure of a one-sided chat log, they evoke associations from the X-file series or mystery novels, revealing a brainteaser that is drawn from mysterious coordinates and secret codes. In addition the official video "20:03 [Y] HOW IS THAT POSSIBLE?" underlines Jung An Tagen's interdisciplinary interest in synesthetic processes. Developed in collaboration with the programmers JeongHo Park and Scott Sinclair the video visualizes particle explosion data from CERN, the European Organization for Nuclear Research. Inspired by Peter Kubelkas's Arnulf Rainer (1960), the resulting geometric figures are exposed to a "complimentary stroboscope" that glitches your receptors and stimulate your brainwaves with photo- and EEG-stimulation close to seizure, inducing a hallucinative reality. Agent Im Objekt is playful but analytical, uplifting but mentally disturbed. While the dynamic use of reoccurring motives forces your body to move, cerebral timbres provoke a series of stimuli to massage your brain. It is intellectual body music that might mark a poetic turn in progressive dance music. Composed, recorded, and mixed by Jung An Tagen in the VIV. Titles by Stefan Juster. Artwork and layout by J. Fröhnel. Mastered by Rashad Becker.
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LP
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EMEGO 251LP
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NPVR is moniker taken on board by Pita, AKA Peter Rehberg, and Factory Floor's Nik Void. Peter and Nik both share formidable reputations in the post-industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavors over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise, etc. 33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private. Recorded and edited at The Premises, London, July 2017. Artwork by Nik Void; Photography by Georg Gatsas. Mastered by Russell Haswell at Haswell Studio, London, August 2017; Cut by CGB at Dubplates & Mastering, Berlin, September 2017.
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2LP
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EMEGO 246LP
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The title of the debut album from The Transcendence Orchestra outlines the modus operandi of this pairing of Anthony Child and Daniel Bean. Recorded in a remote English rural setting over a period of 24 hours, this is an apt location for a recording that eschews time and space in favor of methodological displacement and deep psychological navigation. Modern Methods For Ancient Rituals is an experiment in acoustic and synthetic symbiosis which is deeply influenced by the atmosphere and acoustics of the rural location of Cats Abbey resulting in a set of recordings which can aid to the transformation of consciousness. Deploying a range of ancient and modern instruments and effects, including Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, Electro Harmonix 45000, Strymon Blue Sky, and Roland RE 101 Space Echo, among others, Child and Bean conjure an audio experience which encapsulates elements of drone, trance, pulse, rhythm, and melody, subtly shifting all into a psychologically penetrating experience beyond the aesthetic and into the comforting unknown. Front cover image by Ali Wade; Back cover image by Cathrin Queins; Design by SOMA. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, 2017.
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LP
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EMEGO 244LP
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On her latest release, Chra, aka Christina Nemec, sketches out a psycho-geographical map that guides you to the border of the internal and external world -- On A Fateful Morning lets you enter a sphere where the imaginary and the subliminal cross. Evoking abstract images that transcend reality, Chra installs an autarchic time-and-space continuum of vague, nocturnal beauty. Pastose bass drones, airy ambient synths and processed audio samples form a hypnotic stream that lets you enter an altered state of mind. By subtly intertwining musical and non-musical sounds, Chra weaves an intensely atmospheric, poetic tableau of emptied spaces left to the listener's imagination. It's the pulse of arcane memories that is filling these sonic landscapes, operating deep within the subconscious. On A Fateful Morning is haunting music to play in the dark -- conspirative, uncanny, with a dystopian smack. Artwork by Susi Klocker. Recorded and produced by Christina Nemec in Vienna and Horner Wald, 2016; Mastered and cut at Dubplates & Mastering, Berlin 2017.
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EMEGO 243LP
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Originally developed as a film score, Takt Der Arbeit is inspired by a handful of industrial and instructional films from the early 1960s until the early 1990s that portray different forms of work. Felix Kubin translates these historic documents into a musical poem of conceptual depth. Takt Der Arbeit - "the beat of work" - is not only serving as a title but also as constructive element in this endeavor. Being hunted down by the ever-accelerated pulse of our reality is an omnipresent issue in capitalist societies of the Western world. Living in times of constant exhaustion, it's not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings. Following an almost analytical effort, Kubin and an ensemble of three percussionists investigate the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble maps out an animist choreography, shifting from a time when labor was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model human perception. While side A is dedicated to procedures that are still based on manual and mechanical movement, side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that humans internalize. The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin's skills as a composer, placing him in the field of orchestral music. Works commissioned by NDR das neue werk (North German Radio). Personnel: Felix Kubin - organ, electronics, sampler; Miłosz Pękala - vibraphone, xylophone, sampler, percussion, effects; Magdalena Kordylasińska - marimba, percussion, effects; Hubert Zemler - glockenspiel, drums, percussion. Artwork by Stephen O'Malley; Engineered by Robert Migas; Mixed by Tobias Levin; Mastered by Rashad Becker at Dubplates & Mastering, Berlin.
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LP
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EMEGO 247LP
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First outing for this collaborative effort from the prolific Posh Isolation mainstay Loke Rahbek and Frederik Valentin of KYO, also on the revered Danish label. As old friends circling around the same scene, this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin's studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments. "During Japan's Edo period (1615-1868) the phrase 'the floating world' (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance -- with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts." --Wikipedia Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don't require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek and Frederik Valentin's debut outing conjurer's a world both sensual and abstract as it moves casually alongside fantasy. Recorded 2016 & 2017, Copenhagen S, Natfabrikken. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, Germany 2017.
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EMEGO 245LP
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The ongoing relationship between Editions Mego and CoH continues with this special collection of works made by CoH over a number of years, released on a variety of labels. What brings these works together is the incorporation of vocalists and lyrics. Neatly compiled here, a diverse pool of vocalists elevate the otherwise instrumental works of CoH (Ivan Pavlov) into worlds of narrative, the human and the haunted. Little Annie brings her sly subversive cabaret style to one of the works whilst delivering an intense list of daily activities on another whereas Peter "Sleazy" Christopherson conjures a world beyond our own with his cracked spectral delivery interpreting Pavlov's disembodied electronics. "I wrap my last kiss in a bandage... I send you this message." Frankie Gothard provides classic distorted industrial swagger to the proto-disco "Fffetish" where "Love's Septic Domain", featuring John Balance and Louise Weasel, screams from the abyss of "dirty hospitals"; as starlit and damaged as any of the classic Balance deliveries. A previously unreleased work featuring the renowned fashion designer Ann Demeulemeester skips along a metronomic beat whilst the voice lays out dry settings and instruction. Elsewhere, Noriko Taguchi embeds a fragile sensibility to a music box melody whilst Anna Yamada's collaboration results in an exquisite blend of disorientating pop. The versatility of Pavlov's practice is on display, as proto disco, industrial simulation, and pop all come together with the vocalists presenting a wide range of human function, from the absurd to the mundane to world's unknown. Cover photo and graphic design by Victor Robyn; Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2017.
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2LP
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EMEGO 239LP
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UUUU is a new outfit featuring Edvard Graham Lewis, Thighpaulsandra, Matthew Simms, and Valentina Magaletti. Individually these humans have implanted feathers in caps such as Coil, Dome, Wire, Tomaga, etc. Collectively they form UUUU, a powerhouse construction of fierce and free sonic exploration, as liberating as it is frightening, resulting in a richly rewarding sound. The artists united present a project of exquisite curiosity and confident chaos where the individual thumbprints mesh into a gloriously muscular frenetic free sonic soup. "It's Going All Over The Floor" presents itself as a terse meeting between dance, ambient, abstraction, and improvisation. "The Latent Black Path Of Summons Served" proceeds in a tense energy field where random elements bounce around until locking into a fourth world pattern designed to fall into a dense mass of ecstatic noise. "Boots With Wings" is classic Lewis -- a pop tune from the other side of the mind. UUUU is a schizophrenic seething/soothing masterpiece of a past/present hybrid, equally at home in the club, the home, and the mind. Photography by Antonio Curcetti. Recorded and mixed at Aeriel Studios, Brechfa by Thighpaulsandra; Mastered by Sarah Register.
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EMEGO 238LP
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Shit And Shine's sidestep from percussion-led bunny rabbit rock ensemble performance based glee to ultimate heavy fools of the sticky dancefloor remains one of the more inspiring turn around's in recent years. With highly acclaimed releases on Editions Mego, Diagonal, Riot Season, and others, Shit And Shine have wasted no time clearing away the rubbish whilst cutting up their own path towards giddy bass-heavy shape-shifting dance mutations. Snapping the twigs of disco, hurling clouds of exquisite dissonance, mangling modulations, boiling beats, twisting tweaks... this is a crew that will throw anything at the wall, and you. Some People Really Know How To Live presents a machine music built for the house, the street, the beat. For now, for never. In paradise, all (earlybird) tickets are free and as you face your maker it is Shit And Shine who will truly set you free. Recorded in Austin, Texas; Photography by Coco Clouse; Design by Stephen O'Malley.
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2LP
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EMEGO 235LP
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The frontier for French electroacoustic mystical music has traversed much ground since Pierre Schaeffer shuffled on the past and laid out a map without borders or designated ground. Seventy years in this land of the fried, there are a plethora of Ideas and ongoing potential coming from all corners of the globe. Inheriting the wisdom of past masters whilst forging a signature style of his own, Kassel Jaeger sits as one of the premier explorers of these unknown worlds today. Comprised recently recorded tracks, Kassel Jaeger presents a work of revisits and re-workings, one which acts as a hinge in both closing this particular chapter, whilst opening up the windows to a new sound world. In Aster, rich deep music is replete with dark ambient sonorities swirling amongst intense buzzing tones. Often chilling and ominous, this is a fearless music with abstracted corners and dynamic leverage. Unafraid to embed itself in the ongoing whirlpool of sonic progress. Jaeger's output remains a thrilling body of exploration and ongoing transformation. Photos by Ende Wieder; Design by Stephen O'Malley.
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EMEGO 241CD
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Yasunao Tone on AI Deviation #1, #2: "I have had an idea if I apply the neural network to create my sound work for long time. When I had a performance at Centre Pompidou with Peter Rehberg and other friends I tried to talk about the idea with a French guy from IRCAM. But, he couldn't understand my idea, which by using neural network the sound I create would never have any repetitions. That was 2002 and I had to wait until 2015 when I had a grant from New York State Council on the Arts through ISSUE Project Room, then its director Lawrence Kumpf applied for my new work. The grant finally made possible for making my cherished idea, the neural network piece, reality. I had talked about the idea with Prof. Tony Myatt at Surrey University, UK and he developed the software for the piece with a team included Dr. Paul Modler. At the lab in the University a series of my performances of my MP3 Deviation were captured and used to train Kohonen Neural Networks to develop artificial intelligences that simulate my performances. Hence a birth of new piece AI Deviations. I had a premiere at ISSUE Project Room on June 9th, 2016 and the venue was more than packed and here is the performance of the piece." Recorded at ISSUE Project Room, Brooklyn, June 9th, 2016 by Bob Bellerue. Photo by Cameron Kelley; Layout by Stephen O'Malley. Mix and mastered by Russell Haswell.
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EMEGO 233LP
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BJNilsen is a composer and sound artist based in Amsterdam. His work primarily focuses on the sounds of nature and how they affect humans. Recent work has explored the urban acoustic realm and industrial geography in the Arctic region of Norway and Russia. His original scores and soundtracks have been featured in theater, dance performances, and film. Celebrating 27 years as a recording artist, Massif Trophies is his first solo release for Editions Mego. In 2015, he set off on a month-long hiking trip in Gran Paradiso to explore the acoustic environments in the alpine landscape. Drawn to the monotonous and physical effort that mountains and high altitudes contribute, this became one of the main inspirations for Massif Trophies, reflecting upon the perception of the landscape during several hours of physical difficulty, let alone rapid weather changes, horizontal thunderstorms, and rock avalanches. Massif Trophies is also about the scope of details and perception of the path and the myth of the mountain as the accursed or sacred place. The five pieces contain narratives based on experiences and recordings from the trip. All source material recorded in Gran Paradiso, July 2015; Engineered at Odd Phasing and Echoes, Amsterdam NL; Photography by BJNilsen. Includes download card.
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CD
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EMEGO 240CD
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Editions Mego present the first release of a brand new project from JG Thirlwell. Recorded at Self Immolation studios in Brooklyn. This is Xordox. Xordox orbits a universe inhabited by darkness, wit, mystery adventure, and experimentation. The cinematic quality that exudes from Thirlwell's bent being presents itself in Neospection; Unlike Thirlwell's other works, this is predominantly a synthesizer record, including recording sessions from his residency at the legendary EMS studios in Stockholm, employing Buchla and Serge synthesizers. Sarah Lipstate (aka Noveller) plays her super-processed soundscape guitar on three of the tracks on the album, and additional mixing took place at Lazer Sound studios with Al Carlson (who works extensively with Oneohtrix Point Never). Xordox. Diamond circulating swells; Sequenced stealth sci-fi; Malleable membrane matters; Wild fabric electronic; Heart eaten beat; Fruits of fear and exhilaration. Neospection is neon noir. Neospection is ere 4 yor. Xordox arrives as unexpected and remote as any alien encounter but security lies in the cosmic drama and dark shadows that seep throughout Thirlwell's soul. In this, 2017 the listener once again enters the mind and world of one man who refuses to play along with anyone's game but the idiosyncratic one of his own devising. Tech and engineering at EMS by Jonas Broberg and Daniel Araya; Mastered by Scott Hull at Masterdisk; Artwork by JG Thirlwell; Space Shuttle cockpit photo by Ben Cooper; Space photos courtesy of NASA. CD version includes "Asteroid Dust".
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EMEGO 240LP
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LP version. Editions Mego present the first release of a brand new project from JG Thirlwell. Recorded at Self Immolation studios in Brooklyn. This is Xordox. Xordox orbits a universe inhabited by darkness, wit, mystery adventure, and experimentation. The cinematic quality that exudes from Thirlwell's bent being presents itself in Neospection; Unlike Thirlwell's other works, this is predominantly a synthesizer record, including recording sessions from his residency at the legendary EMS studios in Stockholm, employing Buchla and Serge synthesizers. Sarah Lipstate (aka Noveller) plays her super-processed soundscape guitar on three of the tracks on the album, and additional mixing took place at Lazer Sound studios with Al Carlson (who works extensively with Oneohtrix Point Never). Xordox. Diamond circulating swells; Sequenced stealth sci-fi; Malleable membrane matters; Wild fabric electronic; Heart eaten beat; Fruits of fear and exhilaration. Neospection is neon noir. Neospection is ere 4 yor. Xordox arrives as unexpected and remote as any alien encounter but security lies in the cosmic drama and dark shadows that seep throughout Thirlwell's soul. In this, 2017 the listener once again enters the mind and world of one man who refuses to play along with anyone's game but the idiosyncratic one of his own devising. Tech and engineering at EMS by Jonas Broberg and Daniel Araya; Mastered by Scott Hull at Masterdisk; Artwork by JG Thirlwell; Space Shuttle cockpit photo by Ben Cooper; Space photos courtesy of NASA.
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EMEGO 242LP
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Bastet is the second album by LCC (Ana Quiroga and Uge Pañeda). Bastet is a ritual study gliding the path from the rites of the ancient to the realm of the modern. Bastet is the name of the ancient Egyptian goddess closely linked to music and female power, who coerced humans to entertain her in order to keep her untamed animalistic side in check. Whilst absorbing this legend, the second LCC release presents itself as a vast canvas of ritual, restraint, and spacious sonorities. Stark and unnerving, Bastet is not reliant on pure electronics as abstract theater, but rather utilizes these tools to conjure a world circling the spheres and planes of symbolic human activity. Recorded throughout 2016 among residencies at the legendary studios EMS in Stockholm, the Inter Arts Center of Malmö, and their own studio in Gijón, Bastet is a rich experience: cryptic, visionary, and utterly compelling. Eight tracks lay forth a deep listening journey into the netherworlds of human experience, movement, ritual, and space. Mastered and cut by Mike Grinser at Dubplates & Mastering. Cover by Pedro Maia; Artwork by anacachafeiro.es and LCC.
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EMEGO 237LP
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Editions Mego welcome Danish artist Loke Rahbek (Damien Dubrovnik, Croatian Amor, Posh Isolation) to the fold. Known for countless creative and commercial endeavors, Loke presents City Of Women, his first solo full-length under his own name. As with all of Loke's output, City Of Women harnesses the radical with the aesthetic in a manner of extreme pleasure for all who encounter. Harnessing his thorough knowledge and experience in extreme electronics, melodic encounters, and sultry showmanship, Loke ties together disparate threads of various underground movements to create a singular and deeply personal journey through industrial temptation, noise refraction, and melodic seduction. This is 21st century pop music. One which dismantles previous held borders of sound to present a wide palate of sound, song, abstraction, and intense emotion. Recorded throughout Europe; Assembled in Stockholm at EMS studios and in Copenhagen 2014-2016. Mixing assistance by Malthe Fischer, Copenhagen; Mastering by Bonati, New York; Cut at Dubplates & Mastering, Berlin. Additional instrumentation by Anton Rothstein, Mikkel Reher Langberg, Alex Zhang Hungtai, Kristian Emdal, and Elias Bender Rønnenfelt. Artwork by Rahbek, Emdal, and Lukas Højlund.
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