Behold, a cultishly coveted slab of freeform new wave dance/tape music from 1984 Madrid, Spain, reissued by Andy Votel, Sean Canty, and Doug Shipton's Dead-Cert label. Notable not only for including Beppe Loda's Typhoon favorite, "La Edad del Bronce" -- which sounds uncannily like a cut from Craig Leon's Nommos (1981) -- this album also features the beguiling concrète funk of "Galilea: Centro de Datos," which, by any measure, bears a striking, prototypical resemblance to Photek's "Ni - Ten - Ichi - Ryu" and has become something of an oft-asked-about staple in Dead-Cert's polysemous, polymetric DJ sets. Founded in 1978, Mecánica Popular was the brainchild of Luis Delgado (also a member of Finis Africae) and Eugenio Muñoz, conceived and nurtured during after-hours sessions in Madrid's Estudios RCA using exclusively tape loops -- no samples involved. They did, however, use an innovative set-up including a Polaroid 600 camera, an Eventide H910 Harmonizer, and an ARP Odyssey, all fed thru a matrix of FX to make a wonky, clanking sound that could be happily compared with the output of Conrad Schnitzler, Chris Carter, Jon Hassell, or Kerry Leimer during that fertile early-'80s era. For the DJs and post-punk fanatics, this one way is just too good to miss out on. Edition of 500. Cut at Dubplates & Mastering, Berlin.
The Ale's What Cures Ye by United Bible Studies is a compendium of traditional and modern folk songs as interpreted by the band and inspired by Folkways. United Bible Studies in The Ale's What Cures Ye are David Colohan (Raising Holy Sparks), Michael Tanner (Plinth), Áine O'Dwyer, Nicholas Palmer, Alison Cotton, Richard Moult, Louise McGrath, and Sharron Kraus. Mixed by Michael Tanner; mastered by Patrick Klem; sleeve by Lucy Duncombe. Edition of 300; includes download code. The record also comes with a booklet of words by the band members. Here are three extracts:
"Titled after the Black Sands of 'Sweet Streams of Nancy' and pieced together from the relative geographies of melodies found elsewhere on the album, 'Blacksands' represents, to my mind, the band as a whole -- waxing and waning between various members offerings and sewn together with a shared understanding of something more unified and ancient. Recorded in various parts of the English countryside and the Irish midlands."
"Dave brought the Litany to the table, and I was only faintly familiar with it from the Hart/Prior version. F.W. Moorman's paean to itinerant labouring hardships, the piece always conjured images of the families left behind in the search for pit work -- A concept which lead to the creation of a kind of coda, The Burning Sea -- with Alison Cotton's vocals from Ten Thousand Miles echoed here in an altogether different form... that of a distressed wife abandoned overseas, set against a scree of gradually deconstructed/decaying viola lines."
"Many's the tip Johnny Moynihan offered me regarding the songs I was singing whilst touring with him one Summer. Singing 'The Recruited Collier' exactly as Anne Briggs had done was one of them. However, on this recording, Nature intervened. The tide was fast approaching & in our haste, I sang 'take my heart' rather than 'break my heart'. Not only that, but I sang it twice, perhaps recalling Pavement's advice to repeat any mistakes you made so as to make them seem deliberate. With no room for second takes, we made good our escape from the smugglers cave & I swore to never haul a harmonium up & down a cliff face ever again."
"Coruscating cut-ups yanked still dripping and yowling from the belly of the beast. Dazzling and invigorating, scary and discombobulating. 'Psychic driving was a psychiatric procedure in which patients were subjected to a continuously repeated audio message on a looped tape, in order to alter their behavior... often hundreds of thousands of repetitions of a single statement over the course of their treatment. They were also concurrently administered muscular paralytic drugs such as curare... The psychic driving procedure was a chronological precursor to Cameron's depatterning, involving massive doses of ECT combined with similarly large doses of psychedelic drugs like LSD. The intent was to break down the subject's personality -- theoretically psychic driving could then be used with some efficacy in establishing a new personality' (Hanson Records)." Originally released on cassette by Medusa in 2010.
The Angelic Conversation
This is music that formed the soundtrack to Derek Jarman's long-form Super 8 film The Angelic Conversation (1985). This version is completely dame-free and features no Shakespearean sonnets. Many of these pieces exist here together and un-indexed as separate tracks. Eight tracks, 74 minutes.
Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.
Double LP version. Includes CD. Ten years after their 2005 Spirituals album (NON 018CD/LP), Atom TM and Burnt Friedman have composed and produced their fifth album. Ignoring genre-limits, both artists have progressed from the considerable skills shown on their 1999 debut album as a duo, Templates -- a work of intangible, mutating, jazzy electronic sound beyond the constraints of time and space. They've since returned to Burnt Friedman's Berlin studio several times to release new energies in the form of Spirituals and Outer Space/Inner Space (2001), which incorporate decomposed jazz instrumentation and midi-fied electronic processing. Apart from Hayden Chisholm's saxophone contributions on two tracks, this is how it works again on Lollopy Dripper: 50/50-duo-mode composition with in-house, boosted equipment -- similar to the set-up in 1997, when the duo produced their first tracks over one week in Santiago, Chile -- but with a naturalistic jazz-trio sound.
"Recorded during a recent trek to the Pacific Northwest, this session is very damaged by the post-tongue explosive devices packed by each of the quartet's members. Skittering along the most devious edge of improvisational madness, Greg, Greg, Bill and Mr. Shoup bring four chunks of deep underground moisture into the air for the first time. Let us make to examine them. 'Morning' greets the listener beneath a raucous grackle filled tree, mounting to a commuters' rage. Then along comes a mage with mushrooms, and the growl and rasp spreads out into what one must imagine a stoned rabbit's brain records from a dawn. In 'Separating a door from a window', Mr. Shoup's sax limns the wall of sound into permeable spaces. The horns and percussion throw up bramble hollers of humorous squawk, but in the end, Wally is triumphant. Like smoke snaking over the door, 'Transom' is a very present and seductive piece. If you are a programmer, this is an excellent sound experience to loop, as it is both loving and bossy. Horn and reed lead you into 'Nothing is deprived of its warmth,' and then gleefully pierce your eardrums with needles. Once the path has been cleared to your brain, molten notes are poured in and, like a Dead Head prostrate with his pipe, you become one with the universe. A warm universe. At first I thought it was weird they named this album after the lost book of Tolkien's Silmarillion. Now I'm not so sure." -- Lili Dwight/Byron Coley, Deerfield MA 2015
The Hurrah is the second recorded outing from the universe-shifting free jazz trio of Evan Parker, John Edwards, and Chris Corsano. This trio has been playing together since 2006, sometimes expanding into quartets with the likes of Noah Howard, John Russell, Joe McPhee, John Coxon, and Paul Dunmall. The material on this LP was recorded by James Dunn at Cafe OTO in London on August 22, 2014, during Corsano's four-night residency. All material recorded live; no editing or post-production. As raw and liberating as it was on the evening. Evan Parker: tenor saxophone; John Edwards: double bass; Chris Corsano: drums. All compositions by Evan Parker/John Edwards/Chris Corsano. Artwork by Dennis Tyfus. Mixed by Rupert Clervaux at Grays Inn Road, London. Mastered by Andreas "Lupo" Lubich at Calyx, Berlin.
Rhythms of the Pacific Volume 2
"Another critical sampling of Vancouver's evergreen dance music community. The A-side unearths two Canadian classics-in-waiting from Neo Image, with some dreamily broken garage and sparkling, heady ambience. Florist and D Tiffany split the flip -- low-key, breakadawn shufflers. Both sides are guaranteed to kick up dust on the dancefloor, and once again 100% CANCON certified!"
First vinyl reissue; originally released on CD in 1990 by Touch. "Through them, it is the volume of each word that becomes an 'objectsculpture.' The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores. In the power of voices and semantics, as well as in the severe body/mind combination, inseparable from each other, I find in Aurore a song of the bodies, indispensable to any sound values" --Henri Chopin. Penultimate Press presents the first release in a three-part series based around the four field-recording-based works made between 1990 and 1994 by the legendary French act Étant Donnés (brothers Eric and Marc Hurtado, born 1959 and 1962 respectively in Rabat, Morocco). Aurore opens the triptych and is made from ambient sounds collected like dew from nature. The gathered sounds were then used as a sound texture for the poems strewn among the field resulting in a single entity of arresting sound and text. Aurore is focused around an alchemical fire/water battle, this water which does not wet the hands. Aurore shares some convulsive movements that establish a link with Étant Donnés's earlier works, for instance that exuding scream, worthy of the one Artaud uttered in his legendary 1947 radio program Pour en finir avec le jugement de Dieu. Eric and Marc Hurtado succeed in achieving what many sages consider to be the very purpose of magical art: to create one's own ritual and, being one's own referent, to become a vibrating point in the cosmos and be receptacle for natural energy, in the heat of the sun in an attempt to merge with the Whole. Aurore comes remastered and repackaged in a high-gloss sleeve with fully printed high-gloss inner sleeve, in a limited edition of 500 copies. It remains an extreme and beautiful sonic journey sitting outside of time. "Listening to Aurore, our two actors' record, undoubtedly owing to the influence of the Mediterranean cradle, single umbilical cord of two great religions, the influence of both Latin and Arab worlds -- Gaelic short and long sounds can sometimes be perceived -- since their dictions are such a synthesis of several origins. Any true sound poetry is shattering, the really oral one is there in space, with the plus of the media machines, of the voices that slip through them, overwhelming them with the splendor of the bodies." --Henri Chopin
2015 repress. Room40 presents the vinyl edition of this classic Ben Frost album from 2007. Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with Steel Wound, he makes a bold statement of intent. Finding his way to a deserted stretch of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003, Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait. With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become Steel Wound. A few months go by and Frost has made his way back to civilization. He begins editing the masses of treated guitar from the Johanna Beach improvisations and before long a theme takes hold -- one that very much reflects the isolation of the environment where the tracks were created. Each of the pieces on Steel Wound is an epic journey, colored with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time -- a forgotten memory beautifully rediscovered in a moment of introspection. Vinyl cut by Lupo at Dubplates & Mastering, Berlin. Second Edition of 500 copies, comes in a gorgeous matte cello-glazed sleeve.
Gatefold double LP version. The Z Records label, run by Dave Lee aka Joey Negro, is arguably the contemporary go-to disco label, and it was only a matter of time before Lee would delve into his vinyl vaults and pull out a selection of tracks inspired by the late-'70s Chic sound. "Back when I was listening to commercial radio as a music-mad teenager in 1979/80, their records were omnipresent on the airwaves... when one of their own songs just dropped out of the hit parade, it was replaced by a production for another act -- be it Diana Ross, Sheila & B. Devotion, or Sister Sledge -- it was a constant stream of hits. When I heard songs like Norma Jean's 'High Society' (a solo release from one of Chic's singers) blasting out my transistor radio, I knew straight away it was an Edwards & Rogers production... the playing and sound of both the guitar and bass was a giveaway, along with the precise vocal phrasing, rippling piano, and discreet string parts. If it was the 12" mix then the bass breakdown and slow instrumental build up in the second half of the record was also part of the blueprint. Generally, Chic songs eschewed ad-libs or long solos; the style is more defined with each instrument having an exact placing -- including the vocals. Records like 'Good Times' and 'We Are Family' weren't just big club hits -- yes, they were massive on dance floors but they were also pop crossovers all around the world... even the rock guys I was friendly with (who generally despised disco) quietly liked Chic and admired their rock solid playing and grooves. I guess the best music has this universal appeal... The only track on here Edwards and Rogers were behind is Odyssey's 'Together,' which is one of their more obscure productions... The only actual cover is from Charanga 76 who released an album in 1979 which featured several raw, Latin disco-style Chic reworks, of which their 'Good Times' was perhaps the best -- otherwise, the likes of Delegation's, Van Jones's, and Michael Zager's are original songs, not pastiches -- just simply great music inspired by Chic's blueprint. Hope you enjoy" --Dave Lee aka Joey Negro, August 2015.
Electroacoustic musician WSR is focused on the contrast between acoustic music and synthetic rhythms, and the manipulation of the source via tape and electronic means. Emanuele Porcinai's research and experimentation mainly concerns aural architecture and natural reverberation, and the creative use of these in compositional practice. Following his performance on the main stage at the 2015 Berlin Atonal festival, Porcinai presents his debut for Sam and Hayley Kerridge's Contort label, marking the label's fifth release with four pieces of truly original work that crosses boundaries between industrial, techno, classical, and more. Mastered and cut by Matt Colton. Artwork by Anthony Gerace. Edition of 500.
Joe Bussard Presents: The Year of Jubilo - 78 RPM Recordings of Songs from the Civil War
Legendary collector Joe Bussard is putting records out once again! After running the last 78-RPM label in the US (RIP Fonotone Records, 1956-1974), Bussard had relegated his efforts to promoting old-time music by making cassette tapes for people hungry to hear his rare treasures and producing his Country Classics radio show for stations in Georgia, North Carolina, Tennessee, and West Virginia. But in 2014, Bussard and his daughter Susannah Anderson had the idea to produce a compilation of Civil War tunes; they rang the office of Dust-to-Digital to gauge interest in distributing such a compilation. It was an easy decision for DTD. CD in digipak with 36-page booklet. Includes introductory essay by Kevin Fontenot and liner notes by Tony Russell. Includes tracks by Ernest Stoneman, Blue Ridge Mountain Singers, Grant Brothers & Their Music, Red Mountain Trio, Buell Kazee, G. B. Grayson - Henry Whitter, Ward & Winfield, Chubby Parker & His Littleold-Time Banjo, Da Costa Woltz's Southern Broadcasters, Capt. M. J. Bonner (The Texas Fiddler), Cherry Lane Express, Henry C. Gilliland and A. C. (Eck) Robertson, The Foreman Family, Asa Martin & James Roberts, McGee Brothers & Todd, and Fiddlin' John Carson & His Virginia Reelers.
London producer Faze Miyake presents his full-length debut, four years after the fiery swagger of his 2011 debut single "Take Off" and its 2012 follow-up, the Second Six EP, exploded onto dancefloors. Faze Miyake is a definitive and thrilling realization of his signature sound; a sharp, vividly rendered club record, it casts his characteristic sonic traits in shocking hi-def, with disorienting hi-hat whirls and string stabs steeped in ever-present, body-shuddering sub-bass -- a dazzling, dreamlike vision of 21st-century sound system music. Faze Miyake's immersive and powerfully psychoactive tracks evoke a soundclash of styles; an explosive meeting of bass-heavy genres from across both sides of the Atlantic. His debut album epitomizes modern dance music's global ear while still remaining deeply connected to its local geographical roots. It mutates and reshapes his influences like sonic putty, with Atlanta rap's elemental bass ooze forming a backbone for drums that recall both jungle and grime in the way they hammer, spin, and clatter through space -- and in turn send dancers ricocheting across the floor. Chicago rapper Sasha Go Hard shares sonic space with the Dizzee Rascal-affiliated Family Tree, while London MC Little Simz is furiously intense on "The Nest." The neon melodies of "Yung Sneyga" and "Ocean Drive" evoke sun-soaked CGI cityscapes, but the moody "Ice Cold," led by Dean Blunt collaborator Inga Copeland's half-sung, half-spoken vocals, plunges you equally far into the deep freeze. Indeed, the album remains grounded in Faze Miyake's home city, both in its intrinsic connection to his own grime history and its freewheeling, gleefully hybrid aesthetic. While growing up in East London he was surrounded by music, with jungle, reggae, garage, and then grime forming the background fabric to his life. Those genres' rhythmic ingenuity and taste for sonic experimentation have in turn infused his own music, with his beats blending temperatures, textures, and tempos with almost scientific precision. "Snow Leopard" is tense and wickedly predatory, packing the infectious flex of two-step, while the elementally huge buzzsaw impact of "Fusion" reimagines his anthemic debut "Take Off" as a sharp, fleet-footed club monster. Somehow both brusque and hallucinatory, they're among the highlights of an album that both boldly expands upon Faze Miyake's music to date and marks the maturing of a unique voice in mutant UK dance music. Also features Izzy Brooks.
The Mandé art of jeliya carries a long and complex tradition of fine distinctions and endless debates about the qualities that earn its hereditary poets, musicians, and soothsayers the highest accolades and honorifics. But on the subject of the great jelimusolu (female singers) of our time, there is near-unanimity regarding Kandia Kouyaté: she is a ngara, perhaps the only one of her generation. More than a skilled singer, a ngara is an extraordinary artist who possesses what many would say is a paranormal aura of majesty. Born and raised in Kita, an ancient city in southwestern Mali that has bred many important musicians, Kandia began performing professionally in Bamako while still a teenager, and quickly became quite successful; she saw no reason to make records. But among her most ardent fans was record producer Ibrahima Sylla, who implored her to give him the opportunity to make an album with her. She resisted, he persisted, and nine years later Kita Kan (Sterns, 1999) was released to international acclaim; the beautiful Biriko (Sterns, 2002) followed. In 2004 Kandia Kouyaté suffered a stroke. Her recovery was slow and difficult, and for seven years she hardly spoke and did not sing at all. Even after regaining her strength she considered herself retired. By that time Ibrahima Sylla was in failing health, but he had not lost his ardor for her voice or his awe of her aura, and in 2011 he visited her home in Bamako and convinced her to return to the recording studio. Sadly, he did not live to complete the album. He died in 2013, and François Bréant, who had worked with him on such recording landmarks as Salif Keïta's Soro (Sterns, 1987) and Thione Seck's Orientation (STCD 1100CD, 2005), finished the project. "This new album was made only because of Sylla," says Kandia. "I had been ill and Sylla was gravely ill, but he was always there [in the studio], encouraging me. He asked me to sing everything I knew, everything that that was in my head. I said 'I know nothing. I've forgotten everything.' But he insisted. 'Tomorrow it will come back,' he said." And it did. Her voice, darker and richer than when it first carried her to fame decades ago, has an authority that arises from a very deep well and cannot be faked. It is the voice of a true ngara. Renascence is her resounding declaration of personal and artistic rebirth.
LP version. A Gathering Together is Ron Morelli's second full-length for Hospital Productions, a "techno" cacophony brought to its granular detail and reduced to its most elemental tonal depths. A cohesive fusion of surreal and feverish déjà-vu loops, brittle noise, fucked rhythms, scrap-metal percussions, pro-one metal synths, and an injection of near-buried Drāno vocal samples, it's a fearsome celebration of brokenness and of amplified surroundings, with stereo-shifting drones and driving rhythms that tell the stories of those now gone -- more a soundtrack for a wake than 4/4 crafted for the dancefloor. There's a naked anxiety at work that doesn't turn away from loss but runs with an excited melancholy toward a future that won't exist. The boldness of the gestures is not to be confused with exuberance. With this effort Morelli has shown remarkable restraint and patience, most notably highlighted on title-track "A Gathering Together," an intense cut born from rapid-paced dead-end urban environments that force people together. It's a calling to do more, include more, and celebrate the many forms within those inconspicuous places. Upon numerous listens, it's clear that the sound-design is a reflection of heavy compositional themes that suggest a greater whole. This is hard, dirty techno -- humid, reduced, bare-bones, yet dense and dissolved to its electronic soil. Heavy without being oppressive, it is the culmination of many elements pulled from all spheres of modern electronics, eaten, digested, and spit back out. Produced at the end of 2014, with final mixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris. Mastered and cut by Matt Colton.
Double LP version. Pressed at Optimal and housed in full-color sleeve. Contains eight tracks (including the rare, highly sought-after Raime, Vatican Shadow, and "Blinding Horses" remixes) and includes MP3/FLAC download code for all 12 tracks included on the CD.
LP version. Includes download code. "A brand new compilation of rare material by John Baker from the BBC Radiophonic Workshop! John Baker (who worked for the BBC alongside Delia Derbyshire) ranks as one of the world's most influential electronic musicians. His talent as a jazz pianist & ability to manipulate tiny fragments of tape into new sound is legendary. Whilst working on The John Baker Tapes compilation for Trunk Records, producer Alan Gubby unearthed several reels of music & sound effects from the 1960's BBC TV series Vendetta -- a mafia themed cop thriller starring Italian actor Stelio Canelli (Barbarella, Django, Planet Of The Vampires). The theme tune for the show was composed by John Barry whilst Baker produced all the incidental music. He created brilliant, tense, rhythmic & unhinged James Bond style themes for the show between 1966 & 1968, featuring radiophonic beats, twanging bass lines & screaming jazz solos. Available for the 1st time ever, Baker's soundtrack for Vendetta displays his skill in fusing groovy tape loops, ambient drones & bass textures with real instruments. The music is thrilling, sleazy, deranged & very hip. Highlights from the score are presented on this compilation alongside other rare & previously unreleased Baker tracks, all digitally remastered by Mark Ayres from the Radiophonic Workshop archive."
Excavated Shellac: Reeds
LP version. Includes eight-page booklet and download code. Reed instruments are capable of some of the most impassioned music on the planet, due to the malleability of the reeds themselves -- historically made of plant tissue -- which vibrate when air hits them. The origin of most reed instruments is steeped in rural, pastoral culture. Many insistent, loud, often joyful reed instruments have always been played outdoors as traditional accompaniment for dancing and celebrations. This compelling album is the second volume in the Excavated Shellac release series, featuring rare, never-before-issued 78-RPM records from around the world centered on a unique theme. The previous volume (Excavated Shellac: Strings (DTD 044CD)) focused on stellar stringed-instrument performances. This release examines some of the most intense and hypnotic music set to disc during the early years of international recording, all featuring reed instruments.. All records have been carefully transferred and mastered. Featuring rare and historic photos, jaw-dropping graphics from the 78-RPM era, and extensive liner notes by compiler Jonathan Ward, founder and author of the acclaimed Excavated Shellac website. Includes tracks by I Tre Antonio della Basilicata (Italy), Sylvain Poujouly & Achille Marc (Auvergne, France), Karzana Oyun Havasi (Turkey), Tufanpur Orchestra (Iran), Ahn Ki-Ok and Kin Yin Kuan (North Korea), Guangdong Troupe with Da Kai men (China), T. Rajarathnam Pillai (India), Selim (Albania), Obdulia Alvarez, "La Busdonga" (Asturias, Spain), Jhande Nath (India), Hoseynkali was Roofakah (Kurdistan), Mohamed Efendi Baz (Upper Egypt), Ngoma Ya Kitokomire (Tanzania), Mqonga Sikanise (South Africa), Musicians of Radio Studio Skopje (Macedonia), uncredited musicians (Tajikistan), and Parush Parushev (Bulgaria).
2LP version. After their respective releases on Spectrum Spools, Italian techno masterminds Donato Dozzy (Sintetizzatrice (SP 038CD/LP, 2015)) and Neel (Phobos (SP 037CD, 2014)) return as the duo Voices from the Lake with Live at MAXXI on the motherlabel Editions Mego. A marvelous, organic live set of hypnotic, ambient techno that proves the outstanding and elegant craftsmanship of the pair's renowned sonic sculpture work. As expected, they stay true to their polyphonic topography of liquid scapes, with aquatic sceneries embedded in soaking dense atmospheres, gently gyrating the listener into a trance. Sometimes soft echoes of sirenic voices are heard -- the only remnants of human traces in these spaces that have suspended time, where smooth silky textures are channeled into fractal structures that induce a state of transcendence. The haptic quality of their sound adds up to a sonic matrix provoked by gentle glides and dynamic beat patterns of an almost tribalistic quality. Dunked in a bath of dark fluid, sometimes washed away at the shores of kosmische, Voices from the Lake's tunes seduce the listener into a condition of haziness, culminating in a cover of Paolo Conte's "Max," a dazzling sample of sweet, dreamy melancholia. With this release Voices from the Lake succeed again in strengthening their position as supremely refined ambient techno producers. All music written and produced by Donato Scaramuzzi and Giuseppe Tillieci, except "Max," written by Paolo Conte. Guitar overdubs and arrangements on "Max" by Brando Lupi. Mastered by Giuseppe Tillieci at Enisslab Studio in Rome. Recorded at MAXXI in Rome on October 25th, 2014, during the Open Museum Open City exhibition. Photography and cover design by Koto Hirai.
LP version. Includes deluxe printed inner sleeve, poster, and download code. In April 2015, Donato Dozzy took a set of mouth harps to his parents' house in the Italian countryside and set about exploring the possibilities of that most basic of instruments. The mouth harp had been calling to Donato Dozzy ever since childhood, and he had begun to see in this peculiar, ancient sound the roots of the music he'd been making and playing in clubs. The Loud Silence is the result of those explorations, an accompanied deep-dive into childhood memory, social history, and the roots of psychedelia. Recorded indoors and outdoors; halfway up mountains and on the edge of the Mediterranean Sea, the album is meditative but also powerful. Each track maintains an inviolable central pulse, while delicate, fluttering sounds hint at vast spaces waiting for the listener to connect with them. Field recordings hover below the resonating harps, adding to the mysterious atmosphere. Tracks like "The Loud Silence" and "Downhill to the Sea" are wrapped up in simple rhythms, their strict throb drawing the listener in. The organic physicality of the sound, made in concert with the body itself, generates a primal response in the listener; an undeniably visceral understanding; an empathetic resonance. The Loud Silence is Donato Dozzy's second solo album, and it sees him return to Further Records, with which released his first solo album, K, in 2010 (FUR 018CD/LP). The two albums share a sense of dynamic movement within a limited sphere. It's not minimal, exactly -- it's hard to describe such a rich sound as minimal or reduced in any way -- but it gets the most out of a small, well-chosen set of tools. As on his 2015 album Sintetizzatrice (SP 038CD/LP), a full-length collaboration with singer Anna Caragnano, the ability to make a single element the center of a musical world is enthralling. Anyone who has followed Donato Dozzy's work, whether the celebrated Voices from the Lake collaboration with Neel, the otherworldly mixes he's done for mnml ssgs and electronique.it, or, particularly, his 2013 album of Bee Mask remixes for the Spectrum Spools label (SP 029CD), will see that The Loud Silence is a continuation of a lifelong fascination with sound and its potential to bring people, times, and places together. This album is the first in Further's series exploring the depth of one instrument, preceding a solo record from Nuel focused on the Ekdahl Polygamist synthesizer.
"Viands is a spontaneous collaboration between two auteurs of Detroit's underground music scene: Joel Peterson and David Shettler (Moon Pool and Dead Band). Temporal Relics, their debut album, is a deep, reflective and fearless alternate-reality keyboard meditation that draws on the pair's broad musical vision to explore new vistas. Temporal Relic #1 & #2 are carved out of the same continuous 40-minute session that marked the first time the pair sat down together and 'just hit record.' Temporal Relics is a vast, expansive and moody inner-journey of epic proportion. Joel Peterson (Immigrant Suns, Chatoyant, etc.) and Dave Shettler (Moon Pool and Dead Band, etc.) met in the early aughts while Peterson was actively building a name for himself presenting underground and new sounds (his and others) to Detroit audiences with his Bohemian National Home venue and Shettler was back-boning and warping various rock and R&B acts across Detroit and the western world. Viands began as a sound check for a visiting jazz pianist borrowing Shettler's Moog sitting atop the Piano in Peterson's current venue Trinosophes. All live, all completely improvised, Mastered by Ruud Lekx (Rude 66) and cut by Josh Bonati at Bonati Mastering in NYC. Temporal Relics comes housed in a wide full-color UV gloss jacket featuring artwork by renowned sci-fi illustrator, Mark Salwowski, with layout by designer Beth Hall. A digital download code is included."
"First ever vinyl collection of the legendary 'Kostis,' the most enigmatic of all Greek rebetika artists of the early 1930s. Truly unique guitar duets and black-humor prose chronicling the hash dens, prison culture and pickpockets of old Athens. Virtuosic fingerpicking of Near-Eastern modes at the dawn of rebetika, when the bouzouki was yet to become supreme. Recorded under a pseudonym for export to the Greeks living in America, it stands as an enduring mystery and the high standard for a once subversive art form. Includes Greek and English lyrics, extensive liner notes by Tony Klein and many previously unpublished photographs. Co-released by Olvido Records."
"Coming just months after Dread (Wolf Eyes' first LP as a trio), Slicer was released on cassette in an edition of 50 in 2001. From start to finish, it's a full-fledged sonic experience, downright enveloping. Deep stuttering bass, high streams of electronics, rugged tape manipulation, horns, glass -- this recording contains an enormous spectrum of sound. Mastering legend John Golden, who cut the lacquer for vinyl, said it was like cutting a sonic obstacle course. That's not to say Slicer is a record that you'll play once and file away. The Olson, Young, and Dilloway line-up, which lasted just 5 years, shows unusual restraint here. The calm intensity of their wildly bizarre sonic experiments and masterful compositional moves make for a rewarding repeat listen. With influences coming from all over -- avant-garde sound art to Pink Floyd and beyond -- specifically, Slicer brings to mind the perfectly edited Malesch from Agitation Free, the immediacy of SPK, and the innovation of Henning Christiansen. Wolf Eyes were looking for, finding and fleshing out new musical forms. You won't be surprised, if you've followed their prolific output, that band practice was also always a recording session, and these guys all had solo projects too -- they played all the time. Their ideas developed from jamming, and you can hear the confidence, the masterful control of tone, the patience of the improvisations. This is deeply ambitious music made without academic pretensions. It contains some of the most minimal programming in their catalog and the editing and mastering are nothing short of inspired. Setting an impossibly high water mark early on as the noise scene was just getting to it's feet, few, if any, have come close to the energy and power of this recording since."
Antwerp-based nonconformist Dennis Tyfus debuts on PAN under his Vom Grill moniker with the Knerpen! (bevel) LP. Tyfus's dealings in unstable media -- spanning paintings and illustrations, films, radio transmissions and more -- reflect the freeform, sometimes parodic nature of his sonic output, which has been archived on his own Ultra Eczema imprint alongside many outsider, weirdo, and noise underground artists. Knerpen! (bevel) is a jarring collage of skewed electronics, tape loops, and treated vocals. Opening sequence "I" writhes and seizes with electricity. Skull-resonant clangs are sucked and scrunched back into themselves, before throbs of condensed static give way to the sound of someone rummaging around inside the bodies of acoustic instruments. On B-side "II," Tyfus multitracks the vocalizations of opera singer Emilie Fleamountains into an empyrean choir, before winding back the tape into a foaming-at-the-mouth mechanical meltdown. The 140-gram LP was mastered and cut by Rashad Becker at Dubplates & Mastering. It features photography by Dennis Tyfus and layout by Bill Kouligas. "What arouses the interest of Dennis Tyfus, with his difficult feet, is a clear, artful and wild realism whose extravagance never leaves one indifferent and can be summarised above all as the attempt to have fun in the end, after all." --Wim van Mulders
Le Freak: Music Inspired by Chic 2LP
Rhodes Inspirational: From East to West CD
Words Unspoken, Acts Undone CD
How Far Will You Go? The S&M Recordings 1973-81 LP
La Ragazza con la Pistola LP
Cultural Death: Music under Tyranny CD
Translucence/Drift Music 2CD
Waving Memories - Live in Chicago 1975 CD
Bump Lam Phloen: Essential Hongthong Dao-udon CD
The Ale's What Cures Ye: Traditional Songs from the British Isles Vol. 1 LP
Que Sucede con el Tiempo? LP
Gaslight, NYC, Sept. 6th, 1961 LP
Watch This! Dubbing at Tuff Gong CD
Baião de Viramundo: Tribute to Luiz Gonzaga CD
The Ultimate Acid Dreams Collection: US Psychedelic Punk 5CD BOX
Rhythms of the Pacific Volume 2 12"
Bali 1928, Vol. IV: Music for Temple Festivals and Death Rituals CD
The Angelic Conversation CD
The Consequences of Raising Hell CD
Sunday Girls (Director's Cut) CD
Audio, Video, Disco 2LP+CD
Joe Bussard Presents: The Year of Jubilo - 78 RPM Recordings of Songs from the Civil War CD
The Papermoon Sessions: Live at Roadburn 2014 CD
Live at Roadburn Festival 2014 CD
Face Disappears After Interrogation 12"
Exhibitionist 2 (Part 2) 12"