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viewing 1 To 14 of 14 items
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LP
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E#60
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2002 release. Regardez-vous the debut recording by Clarinette, a solo project that has flowed from the brain of well-known California-based archivist, Daniel "Dan" Vallor. Utilizing such instruments as guitar, swinehorn and kuck, Mr. Vallor has created a world of scrambled-diz miniatures of disarming variety. Played w/ tiny robot fingers, lacerated by stumps of home-studio fuckery, the five pieces here are as potently frenched a selection of man-handled string readymades as any record collector has ever waxed. Listening to the genteel hum and dribble of Haze it becomes apparent that Mr. Vallor has done more than catalog the musics of NZ -- he has vibrated and matured in a manner sympathetic to their most exploratory resonances. Indeed, the weirdly shaped instrumentals of this LP might easily be mistaken for the latest sounds from one of the bands on Celebrate Psi Phenomenon, Root Don Lonie for Cash, or one of the other labels that he has so brilliantly documented.
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FYPL 43
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2005 release. Seven songs of studio-recorded solo Dredd Foole on vocals and acoustic guitar, in a totally different vein than the last Dredd Foole & the Din record with Pelt, Thurston Moore, and Chris Corsano. (The Whys of Fire (FYP 20)). For years and years (maybe about 17 or so), people have been pleading with Dan Ireton to record an album of his songs, as they are here, "mostly in one take." That has, almost unbelievably at this point, finally been taken care of. Not necessarily "new" or particularly "weird," this is unquestionably (for lack of better terminology) "American." And when was the last time you could admit to that? In front of a crackling fire, it could perhaps sound good enough to melt into the floor, but even those illuminated by mere fluorescence will find pure captivation. Words, voice, guitar, culturally-informed emotional expression. Printed inner sleeve with lyrics, just like the old days. Great cover by Kim Gordon.
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FYP 20
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2003 release. Thurston Moore, Chris Corsano, and Pelt in Dredd Foole's Din this time around (past Din members include Mission of Burma and the Volcano Suns). Mastered by Jim O'Rourke. Quite handsome Actuel-tribute cover art. The Whys of Fire: Dredd was playing a lot again, after his move to Vermont, and it seemed like the time to get some of his new instant compositional gambits onto tape. It so happened that Pelt were going to be coming to town pretty soon. That seemed like a good connection. Chris and Thurston both played with Dredd already in various action units, so that made sense. Hell, it all "made sense." In the way that things can on hot, buggy nights in a swamp, when there's plenty of cold beer and enough electricity to go around.
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FYPL 047LP
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2006 release. Gown is from the islands of British Columbia, Canada, and spent an entire year living on one such island alone, apart from his dog and three or more goats. If rock-qua-rock and/or its sub-forms are based on blues epistemology, then Sacred Mountains is rooted in the vernacular of sea shanties, sea creatures, and sea salt in general. The music swirls and eddies as water does when trapped in a cove, just before rejoining the ocean-proper's massive swells and crashing onto a buncha rocks. And the music is like that rejoining, too. A process such as this is a journey and far from perfect, but the missteps sparkle and gleam like the random beauty that surrounds us. The LP was recorded over the course of a month in Florence, Mass, following a two-month tour across the USA, playing in a duo with Christina Carter.
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CD
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FYP 025CD
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2006 release. Picks & Lighters were a Knoxville, TN combo who come to us straight out of 1999. Because of fate's vagaries, their time is gone. Everyone missed and ignored the boat they offered us, and we were all left floating, lonely, in a sea of our own shit. Until now. We truly don't understand how this one got by us upon its initial release, but it did. Picks & Lighters even released a beautiful vinyl record to make sure we wax lovers gave them a chance, no dice though. Their cries of creation fell upon deaf ears; for a good while, anyway. Now there is finally enough time of give some love to the Picks & Lighters crew. So here's a re-release -- with proper jewel case packaging -- of their genius S/T CD from 1999. Their music combines all sorts of parts including (but not exclusive to) Royal Trux, universal Siltbreeze sounds, Rolling Stones feedback loops, American primitive volk guitar, boogie rock, lo fi form-scrumble, etc. It's a motherfuckin' shame this went unnoticed in 1999, but maybe now we can right some wrongs, change the world, and float a boat or two. Cause you know what Thurston Howell says -- there's always room for another yacht.
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FYP 32
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1998 release. Pluto is the sporadically-recording Berkeley-based improv outfit, here featuring MX-80's Bruce Anderson (guitar) and Marc Weinstein (drums), plus Ken Kearney (bass) and Russ Schoenwetter (drums, voice). These 1996 recordings act as a follow-up to their debut CD on Rastascan, Shoe Horse Emerging. The LP is housed in an elaborate full-color gatefold sleeve designed in the style of the old French ethnic music label Ocora.
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CD
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E#76 CD
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1995 release. "Originally planned as a 1998 release for the ill-starred K'EY Records. Heavy Meta represents something like the return of one of America's prodigal sons. Not that pianist Greg Goodman has been away or anything. It's just that, after a brilliant series of recordings for his own Beak Doctor label, Mr. Goodman's unique style has been all but absent from the recording world. Until very recently, when Beak Doctor resurfaced, he had appeared only fleetingly with guitarist Henry Kaiser and in an unauthorized recording released by the Incus label, otherwise he had been silent as far as the outside world could tell. The trio assembled for Heavy Meta is formidable. Besides Mr. Goodman, it includes America's protean guitar improvisor, Henry Kaiser, and the powerful cross-cultural drumming of Lukas Ligeti. The programming of the material on this disk follows a pattern of inter-relationships as structurally complex and taut as those posited in Harry Mathews's novel Cigarettes (1987). The three shift between different paired settings and in and out of trio formation so nimbly that the entire process seems redolent of anti-Americanism. There is little evidence here of the individual braying that is thought of as our domestic style. Indeed there are passages of 'Riddled' where Mr. Goodman's interior piano plucking merges so completely with Mr. Kaiser's guitar jumble that it's difficult for my mind to force them apart. Playing such as that, or the free-ranging game of emotional post office that concludes 'War & Piece,' has an ego-less quality that is far too rare in U.S. improvising circles. Tell that bastard Ashcroft the news. Listened to as a whole, Heavy Meta demonstrates both the excellence of Mr. Goodman's playing and the width of intelligence displayed by this unheralded trio. The opening track, 'Logical Types' is a bravuro performance from all hands. From the strumbly, Magic Band-like opening cadences by Mr. Ligeti and Mr. Kaiser, through the sequences of equally whacked piano (imagine Beefheart on the piano rather than the alto), the piece spurts and blurts with everything from a broken lyricism that recalls Paul Bley to squabbling crescendos that have a density approaching Nancarrow's machine cycles. This is a ferocious and lyrical bastard of an album. It hews to no strict traditions, but roils across the landscape of modern formalism like an Ernie Bushmiller hoopsnake obeying naught but a mysterious interior gyroscope. It is a splendid and dizzy thing. And it is yours." --Byron Coley, Deerfield, MA
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7"
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FYP 14
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2002 release. The trio of Kim Pieters, Bruce Russell, and Peter Stapleton is well known to listeners who recognize and understand a good thing when they hear it. Their two CDs, Last Glass (Corpus Hermeticum 007, 1995) and Sex/Machine (Metonymic 005, 1999), are powerful extensions of free music improvisation, taking the shake of the unknown well past the barriers of all suspected tongues. The A-side of this 33rpm 7" is a palate-forcing distender of their previous work, making blocks of concrete shimmer w/ a force that seems almost entirely natural. The B-side, on which the three are joined by Bruce's son, Max, is another kettle of gawp. Not since the early days of papa Russell's Dead C has NZ structure been so gorgeously deformed. In a sense, this track resembles nothing so much as the first punch thrown in the battle to give no wave shenanigans a place at the Kiwi table. Yow.
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LP
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FYPL 035LP
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1997 release. Volume 6 in the Center Of The Ass Run series. L.A.-based duo of Brandon Labelle and Loren Chasse, who have self-released 2 prior CDs. Concerned with small, installation-oriented audio, what they refer to as "found sounds within found spaces."
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FYPL 033LP
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"1996 debut LP by a beautiful trio of UK improv wheezers, led by Sharon Gal (currently a member of Meltaot with Savage Pencil). They create incredible hillocks of acoustic and electronic clatter, with certain resonances (although very few actual similarities) to some of the other UK underground giants of their era. They existed from 1992-96 and this LP was released as the 4th volume of the Center of the Ass Run series. I seem to recall Tom Lax once drunkenly comparing them to Throbbing Gristle and well, Tom should know." --Byron Coley
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FYPL 034LP
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Volume 5 in the Center Of The Ass Run series. "Did I ever tell you about my new wicker pants, well I bet I have the only ones in town. They are stiftly ribbed and that preset form gives me all the support that I've always needed. And just because I cannot wear them right now, you can bet I will be stylin', just as soon as loose these eighteen pounds. Then I won't have to worry about them leaving basket marks on my arms."
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FYPL 098LP
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Following his (sporadically ongoing) work with Sunburned Hand Of The Man, the incredible soul-whisper of the Trees, Chants And Hollers LP he cut for Eclipse, and the equally-tit-like Astral Blessings LP on Mad Monk, Paul Labrecque (of Belgium) dispensed this solo LP. Recorded in June 2007, it layers banjos, guitars, vocals and smoke as though they were shimmering veins of black pearls, pulsing against the scarlet dawn. Labrecque manages to take a conceptual precept as dark as life itself, and invest it with an inner glow that churns our own black hearts like butter. An amazing slab of massive, subtly-wrought psychedelia played in the highest key imaginable. Long thought out-of-print, this lone box was recently discovered in the shadows. Move over George Stavis, and tell Billy Faier the news. Edition of 500 with silkscreened cover and insert.
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CD
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FYPC 098CD
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CD version of 2007 release on Ecstatic Peace! Little Claw's batter-rock style provokes a lot of aggression on both sides of the audience/performer divide. Originally from Michigan, they relocated soon after this album to the moister turf of Portland, Oregon (home of JOMF, Smegma, Meltzer, etc). Little Claw's rituals are tribal, their tongues unknown, and their recordings for XL, Siltbreeze, Ypsilanti and other labels have taken maximum r&b in many bizarre directions. This CD reissues a newly-mastered version of their second LP, originally issued by Ecstatic Peace! in 2007. It is a monster of form-disruption and includes some of Kilynn Lunsford's most easily comprehended songs. Beauty wears many skins. Here's the proof.
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FYPC 099CD
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Gary Panter and Devin Flynn are two goddamn geniuses of the visual arts universe and anyone who says different can eat my lardy shoe. But what happens when these two bohemian gentlemen retire to their smoke-pit with a bunch of musical instruments, several pounds of sweet leaf, and some recording equipment? If you really wanna know, well, you now have the power. Their fully-smoked psychedelic vision allows them to re-imagine and re-align one of Gary's own back pages ("Tornader To The Tate" originally recorded with the Residents in 1981), as well as various song-bits they recall from elsewhere. Recombinant theories mix with tricky fingering in ways that will blow you across the room (as a recent Brooklyn live show demonstrated to several unwary attendees). Very mind-blown and fully loaded. Includes liner notes by Byron Coley.
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