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viewing 1 To 25 of 41 items
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LVD 136CD
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"Brian Crook (from The Terminals, Max Block, solo releases) and wife Maryrose make up the long-running Renderers who's releases on Ajax/3 beads of sweat and Siltbreeze records have continued to tread a line between haunting contry-esque ballads and the brand of noise-rock for which the Terminals is known. From a review of their previous album (Ghosts of Our Vegas Lives): 'A charred near mythical psychedelic wasteland sparsely populated by tortured souls and twisted creatures. Brian Crook (her husband) is the perfect foil for such surrealism-meets-rustic imagery, whether lathering melting feedback on top of ghostly ballads or kicking up a slash and burn racket, captured with garage rock immediacy. ....a world where Hank Williams and Townes Van Zandt are revered as preciously as Sonic Youth, the Dead C and Can, to name but a few. A different kind of transcendance indeed.' -- Lee Jackson,Womblife. Monsters and Miasmas continues upward from the foundation that the Renderers have built over the previous two decades while losing no ground from their previous accomplishments. I doubt any of us no exactly what genre this is, but there's no one out there doing what the Renderers do better."
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LVD 095CD
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"The band came together in 2000, featuring members of The Renderers (Brian and Maryrose Crook) and Sandoz Lab Technicians (Nathan Thompson and James Kirk). Held up for years due to technical faults with the recording of 'Twister,' the band has at last salvaged a classic NZ album as great (or better) than we might expect from the conjunction of these two bands. In sound, it is a heavy atmosphere; ponderous psychedelic country (if you consider The Renderers country), adrift in washes of weird noise improv that somehow fits the songs best. A better soundtrack for Inland Empire than Lynch managed, and perhaps a sister album (at least spiritually) to Bardo Pond's Amanita. And when one thinks there is nowhere left to go after the still beauty of 'Weirder,' the album at last kicks up the tempo, finishing with the terrific rocker 'Slow Motion' (which is not that slow at all). For any who've loved the two bands that have merged here, nevermind the likes of The Terminals, Dadamah, Dissolve/Roy Montgomery, Flies Inside The Sun, Alastair Galbraith, etc., etc. Here's your next purchase."
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LVD 126DVD
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"52-minute DVD (all region, all format) of Up-Tight playing at their best. Incredible sound quality, the video is close-up and personal. Unless you have been lucky enough to catch this tremendous live band on tour, this is the only way you are going to experience the real thing! Black-clad and with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams, Up-Tight are seriously not to be messed with. Heading up the second generation of Japanese psychedelic rock acts (following on from Fushitsusha, Kosokuya and Shizuka) they're one of the best live groups in Japan. As you might expect from their name, there's a chiselled intensity to their playing which displays some startling post-Velvets stances. With the power to lay down spontaneously loose, acid-fried and drugged garage psych jams of hypnotic guitar squall, and a line of impassioned and fathomless vocals that are capable of kicking you right in the gut, Up-Tight have a mesmeric feel to them, unmatched by any peers." 2-sided DVD that is both NTSC & PAL compatible.
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LVD 125CD
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"Maariv is a collection of electroacoustic solo works composed and produced by San Diego-based musician, Preston Swirnoff. This collection was recorded at his studio, The Habitat, in 2004-2005. Swirnoff also collaborates with Ilya Monosov in primal rock unit The Shining Path and as Monosov Swirnoff, as well as producing heavy analog dub music as Habitat Sound System. Taking 20th century minimalism, ritual drone music, and early electronic and tape experiments as launching points, Swirnoff uses a variety of instruments (piano, tone generators, organs, guitar, tape machines) to create absorbing sound worlds that thrive on repetition, melody, noise, and a sense of the otherworldly. Swirnoff has cited Gyorgy Ligeti, La Monte Young, the SF Tape Music Center of the '60s, the haunting solo work of Angus MacLise, and old Jewish liturgical melodies as inspirations that inform the four pieces on Maariv. Each piece, though based on a simple premise and instrument set-up, weaves a complex aural tapestry rich in both texture and emotion."
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LVD 115CD
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"Vapaa is a loose collective of musicians but this recording represents the basic 'core' group; Joel Kivela, Tiitus Petajaniemi, Keijo Virtanen and Jari-Pekka Koho. We met in Jyvaskyla, Finland in year 2003-2004 and after that we have made many records to different labels and played live shows around Finland and one tour in Europe as Keijo and the Free Players. Organic, drifting psychedelic improv without much in the way of modern equivalents. Easily compared to a few Krautrock favorites (early Amon Duul 2 and a very quiet Ash Ra Tempel) -- but in general a bit more relaxed (perhaps a little International Harvester?) For those well versed in the LVD sound, this is fairly definitive."
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LVD 120CD
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"Wild Flowers Under The Sofa is the third and new album by the Italian duo project formed by Gianluca Becuzzi and Fabio Orsi. Gianluca Becuzzi is an electronic/electroacoustic composer and sound artist active since the '80s. He released many albums and performed live around Europe during the last decades under various names. Fabio Orsi is a young talent recently come out thanks to a series of excellent releases welcomed by international critics and audiences. Wild Flowers Under The Sofa is an intense and fascinating album made of guitars, old keyboards, field recordings and sound objects. Three long compositions between avant-garde and folk traditions where everything plays with big emotion: visionary soundscapes, deep drones and sudden noises. This work is particular for its sound sources extracted from previous duo productions with brand new sounds and structures making in this way an unreleased brilliant mix. This CD is a must-have for avant-folk lovers and Gianluca and Fabio represent the best of this scene."
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LVD 118CD
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"Originally from Dunedin, New Zealand, John White plays in Mëstar, The Zoo Polluters and Sunsets On Acid. In the last few years John has been involved in several cultural exchanges, including an extensive European tour with avant noise pop Cloudboy, providing live soundtracks to archival New Zealand footage. Last year John traveled to South Korea with Wellington noise band Amalgam to perform a special performance in a Buddhist monastery. The new LVD release of Mogwash is a compilation of the two dream-pop folk albums Balloon Adventure (2000), a one-day spark in reaction to months of arduous Mëstar recording, and Mogwash (2003) which was recorded in Berlin with fellow members of Cloudboy."
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LVD 117CD
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"Eyes Like Saucers is the solo project of Jeffrey K., formerly the Farfisa organist for Secret Eye recording artists urDog. Eyes Like Saucers explores the darker, more organic regions of inner space via a slightly modified Indian pedal harmonium, effected voice, percussion and electronics. Drawing inspiration from such artists as Nico, Robert Wyatt, Popol Vuh, Current 93, and early 20th century German poet, Georg Trakl, Eyes Like Saucers channels the incessant and labored breathing of the ancient harmonium to evoke a mood that is bleak and doom-laden, while reaching for the sublime. The title Still Living In The Desert (And Mostly Inside My Own Head) is derived from a late journal entry of Nico's. Jeffrey spent most of the year 2006 living within a Volkswagen van in the northern Arizona desert, with his dog, his harmonium, and a 4-track cassette recorder, and much of the material on Still Living... he recorded during this period. The music often betrays a childlike simplicity -- as though the artist were completely unaware of what he was doing; yet a close, critical examination will reveal that certain patterns and structures do emerge, and perhaps even more. There is undoubtably a cohesiveness, a logic, and, for want of a better term, an underlying -- and unstated and inextricable -- 'numinosity.'"
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LVD 111CD
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"The Stumps are a New Zealand based noise-rock trio made up of members Antony Milton (Pseudoarcana, The Nether Dawn, Mrtyu, etc), James Kirk (Sandoz Lab Technicians, Black Boned Angel, Gate, etc), and Stephen Clover (Palindrone, seht). Formed in Wellington in 2003, the group is known for its noisy guitar soundscapes and improvisational take on psychedelic rock music. Most often, Clover plays bass, Milton sings and plays electric guitar, and Kirk plays drums, though the group are known to expand their instrumental palette using synthesizers, field recordings, electronics, and guest musicians. With a laundry list of individual accomplishments preceding them, The Stumps bring high expectations. They've been compared to such seminal acts as The Dead C, Guru Guru, Acid Mothers Temple, Fushitusha, Les Rallizes Denudes, Sun Ra and the Velvet Underground, but these Kiwis have their own twist in their psychedelic cosmic explorations. They are robust and powerful; an exciting and often overwhelming listening experience. It'll burn out your eardrums and douse the flames in hot wax. But fear not, within these methodic blasts are moments of icy calm. Underneath all this chaos is a relaxed thread, keeping some semblance of order intact."
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LVD 116CD
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"Last Days of the Sun is the fifth album by long-running New Zealand avant-garage kings The Terminals. Bruce Russell has often described them as 'New Zealand's best rock band bar none,' and these days they often get called 'legendary' and while that may have as much to do with the fact they are in their twenty-first year they continue have a big reputation for the intensity of their live performances. Last Days of the Sun is their first release since the 1997 Terminals Live CD on Medication and the 1996 7" single 'Medusa' on Chicago label Roofbolt. It combines driving garage-rock and swirling guitar/organ interplay with dark, brooding, melodramas and quietly haunting ballads. There are twelve songs of love and anxiety, with The Terminals' characteristic ebb and flow dynamics and Cogle's unearthly tenor soaring right over the top."
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LVD 113CD
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"Haunt is a swirl of Farfisa organs, loops, stretched-out guitar, and the fragmented, fractured beats of an analog drum machine and tube amplifier static. The album was recorded by Erik Carlson & Jeff Knoch late 2005. What began as a plan to record a dual-Farfisa album (both Erik & Jeff are Farfisa aficionados) quickly and organically turned into much more. The two musicians convened and over the course of two brief sessions, spun out a sequence of songs whose repetitions and details hold much more than the surfaces first reveal. These spontaneous compositions emerged fully formed with barely a pause to switch tape, the only addition being a similarly inspired track recorded live on a radio performance in early 2006. The title, Haunt, refers to frequented places or states of mind, places we return to again and again, sometimes obsessively, sometimes in a somnambulistic trance. These are not ghost stories, but we can't deny the unexplained other's spectral presence (as in so many of AREA C's compositions). The title was originally inspired by a book of the same name by poet Keith Waldrop. Remnants of other times and places, outdated technologies, signals sent out but never received -- this is the bed over which Erik & Jeff layered their revolving organ lines and pulses. The results are mesmerizing."
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LVD 099/100CD
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"First entry in an on-going 'annual report' style compilation, programmed with the same sensibilities as 2005's Invisible Pyramid compilation by label guru Chris Moon. This entries' line-up includes: Keijo's Free Players, Brad Rose's North Sea, Western Automatic, the Ilya Monosov/Preston Swrinoff duo, Andrea Belfi (previously heard on the Invisible Pyramid comp), Paper Wings (Antony Milton + Anthony Guerra), Northern Cross (new Geoff Mullen + Kris Lapke duo), Brasil & the Gallowbrothers band, Sunken (Pumice + A.M.), Kawaguchi Masami's New Rock Syndicate (Miminokoto) and the never-before-heard Oaxacan. Over 2 hours and 20 minutes of new, exclusive material from the very furthest outside of what is already an outside label."
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LVD 110CD
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"The Idle Suite are a six piece improv-rock group from Wellington, New Zealand. The band members come together from a variety NZ underground acts including Sferic Experiment, MarineVille, The Stumps, Dress, Sandoz Lab Technicians, King Loser, Cloudboy and Bad Statistics. Driven by two drummers, The Idle Suite's music is open-ended improvised rock. At times the band is content to sit on one note, at others burst into dissonance or evolve melodies. Some tracks bear the influence of the band members' background in making 'song' based music. The band's line-up is Greg Cairns (drums), James Kirk (drums), David Hall (guitar, bass), Mark Williams (guitar), Kristen Wineera (keyboards), Johannes Contag (keyboard/sampler) with guests Bevan Smith (guitar), and Andrew Wright (keyboard)."
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LVD 063CD
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"Continuing with their exhaustive, snail's-pace release schedule, New Zealand elder-statesmen improvising trio Sandoz Lab Technicians have finally given birth to their 6th album in 13 years. The Lab Techs are particularly excited about this one, as it features as its centerpiece (and title track) the band's first truly hi-fi DDD recording, having been laid down in a fully-armed digital recording studio in Sydney, Australia during 2005's micro-NZ Noise Festival (featuring fellow NZers Birchville Cat Motel, The Stumps, 1/3 Octave Band, seht, and Oz wizards Castings and 6majik9). The Western Lands is an aural journey through a constantly shifting miasmic landscape of sinister beauty and the band hereby challenges even the most recalcitrant reviewer to toss the 'lo-fi' tag at this one (okay, 2 of their last 5 albums WERE recorded entirely on Sony Walkman...). The Western Lands is book-ended by two shorter tracks recorded earlier at the groups long-time practice space at 8 Canongate, Dunedin -- the beautifully befuddled 'Nebulous' and the soothing faux-Japanoise lullaby 'Crocus Blossom.' All in all, it's a bona fide full-scale 3D mind-movie of an album, featuring the usual wide range of instrumentation (guitars, piano, violin, drums, effects, computer, autoharp, fender Rhodes electric piano, bush sax, reed flute, bamboo flutes, melodica, walkie-talkies, hand drum & cymbal, bells, glass and water... lots and lots of water)."
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LVD 1003CD
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"Third installment for our avant-garde/free-improv/difficult listening series. Compilation of unreleased and new, challenging music assembled by Ilya Monosov. Somethings #1 features Chie Mukai, Sarah Peebles, Masayoshi Urabe, Nick Castro, Preston Swirnoff, Andrew Deutsch/John McPhee and of course Ilya Monosov himself. This collection stresses an ill-defined region between composed music and improvisation, where both elements come into play. Some of the pieces use traditional instrumentation, others use field recordings. Regardless of construction, these are all artists working at the farthest boundary of what is defined (or not yet defined) as music, hence the title of the album."
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LVD 104CD
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"Eastern Fox Squirrels is a collaboration between Brad, his wife Eden and Robert Horton. Along the way they are joined by the talents of Tom and Christina Carter (Charalambides), Dan Plonsey (a player in the company of Anthony Braxton and Eugene Chadbourne) and Jason Bill (Charlambides, also recording with Jack Rose.) Sonically, Eastern Fox Squirrels has a varied pallet. Like the Jewelled Antler folks, we have bouzouki, glockenspiels, bowed banjos, weird exotic flutes and who knows what else being used to great effect. The results being very much like what you'd expect; experimental but with soft, round edges and nice, nearly ambient dirges that feel welcome but really aren't normal."
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LVD 102CD
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"Keijo hails from Jyväskylä, Finland -- a small town in the north that claims to be the center of the universe. In the sprawling Finnish underground, Keijo is the wise sage who everyone admires. He has worked and collaborated with Finnish acts such as Vapaa, Avarus, and Kheta Hotem, while seeing CD-r releases on the ultra-hip pseudo Arcana and Lal lal lal labels. While using all acoustic sources, For a While is flat out weird. Essentially the structure utilized here is folk, but somewhere way beyond the analogy of Tim Buckley's Lorca dream-structure being used to break down reality subconsciously. It isn't even easy to listen to. Unsettling minimalist guitar riffs drift under sheets of detuned/stretched-out bell samples. No, this isn't the sort of weirdness that grabs you by the collar and shakes you around a bit. This is another, more insidious weirdness that isn't apparent right away, but rather you wake up one morning and realize you weren't the person you were before."
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LVD 004CD
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"Austere drone / sound collage / aural texture. The two pieces here (one at 50 min, the other at 30) fuse ideas from contemporary minimalism (Bernard Guenter, Annea Lockwood, etc.), Japanese noise artists (such as Aube) and 20th century classical (Ligetti, Pendereki, etc.) to create slowly evolving soundscapes that occasionally build to crescendos or reveal accidental harmony. Yermo made up the electronic aspects of MCMS and has had previous releases on LVD as well as Birchville Cat Motel's Celebrate Psi Phenomena label."
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LVD 108CD
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"Ben Reynolds is one of the newer voices from the same UK scene that includes Ashtray Navigations and many of the VHF celebrities (Sunroof!, Vibracathedral Orchestra, Richard Youngs, etc.) It should be of little surprise then that Book of Beyond fits very nicely among the recordings of those other artists -- noise/junk drone. As in his previous recordings, this at times dissolves into more acoustic offerings, but the Fahey influence appears to be mostly gone, and what remains in the quieter moments is far more bewildering. Time-stretched bells and weird short-wave transmissions, one helluva lot of well used ring-modulator (nice to hear it done well for a change), fumblings on more traditional instrumentation (flute, guitar, etc.) but never coming together to form anything you might call a song. Book of Beyond may truly be well titled, since this is music stretches out beyond his two other recent releases, taking what he's learned from his participation in Ashtray Navigations and focusing more on texture and aural disorientation. This is definitely the kind of uncomfortable music we are proud to release!"
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LVD 025CD
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"Perhaps this wispy history, built as much upon the shadow ground of myth, rumor and superstition as upon sun-kissed fact, accounts for the spooked air that animates Inaba's every breath. The spirit of personal myth permeates too his lyrics, which at their most opaque seem to float through the mists of a timeless rural antiquity. Heard here in his natural element of a live concert (his previous two albums, Innen Kaho on Planktone and Land of Prayer on PSF were both studio recordings) we can hear true the spirit winds whistling through ancient cryptomeria groves, stirring the bark shingles on shrine roofs." -- Alan Cummings.
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LVD 103CD
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"The Free Players are a super-group featuring members of Finnish free-jazz pawnpins Vapaa, Kheta Hotem, Kundalini Snakes and the venerable Keijo Virtanen. While previous documents of this band exist, this is apparently the more democratic version (no longer is it 'Keijo and the Free Players'), a shift documented by the more accessible sound here. What we have here is an hour long set of jams that seems more reminiscent of Floyd and the Dead than what we've come to expect from Keijo's previous output. Wild guitar leads and wailing sax (nevermind the space-organ) reveals immediately what cloth this recording has been cut from -- which is to say that The Free Players is a true psychedelic album!"
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LVD 094CD
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"Islaja (Fonal) side-man and frequent tour-mate with Larkin Grimm (Secret Eye), Sala-Arhimo's debut oozes a slow psychedelic radiance from a half-frozen world of hibernation. A bit of ancient Pink Floyd as reference point, perhaps some of the jazz-like moments of Faust's more gentle side, but here all comparisons end. This is another one of those 'you need to hear it, but there's no way to get it' Finnish geniuses whose music shares much affinity with the Lal lal lal crowd (Kemialliset Ystavat, Avarus, etc.), but focuses less on the purely experimental, and more on rich, melodic drones and voice."
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LVD 097CD
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"Swagger Jack might draw comparison to John Fahey's Blind Joe Death, if only that both characters are completely fictional. Fans should have no problem detecting that this is New Zealand's Antony Milton in full-on songwriting mode (versus his noisier projects such as AM and Nether Dawn.) Self-described hillbilly/bluegrass/folk music, Antony couldn't have been more wrong. This is the sort of brilliant misinterpretation (has Antony every heard hillbilly music?) that almost always results in something truly new and innovative. With most of 'Swagger Jack's' sound still being derived from the lo-fi, downer-pop of New Zealand legends like This Kind of Punishment, The Terminals, Roy Montgomery, Alastair Galbraith and even The Clean, Swagger Jack's veins are filled with the feral blood of the Velvet Underground, Joy Division and Wire (Chair's missing.) How all this becomes synthesized into edgy-folk-like songs about camping is hard to say. A deeply creative and melodic album that makes sense in New Zealand, but may be completely beguiling to all the rest of us."
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LVD 079CD
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"New full-length release from Finnish-based Tivol; sounding like part Amon Duul 2 (think the first track on Yeti), part Blue Cheer and part High Rise."
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LVD 088CD
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"This is the same Neville behind Pumice (Raft previously on LVD, and Yeahnahvienna (Soft Abuse) as well as a collaborator with the likes of C.J.A, Witcyst, Matt Middleton, Antony Milton, Chris Knox (Tall Dwarfs) and Campbell Kneale (Birchville Cat Motel), so you should know what to expect: eccentric one-man-band lo-fi goodness. But where Stefan's other releases have always taken the existence of pop-music for granted albeit filtered and fucked 'til broken,' Do Not Destroy makes no such assumption. Recorded in the night-times, while daytimes were consumed with a mundane and low-paying filing job, the Do Not Destroy album is an exercise in desperate escapism that is ultimately more personal than Neville's other works (and also his most challenging.) Recorded back when Pumice was still a two piece, Do Not Destroy is the original noisy, primitive Neville, back when making a shit-load of noise was still the best sort of music to release!"
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