Le Novità Di Luglio/Agosto. Click Per Infos. In English.
Contenuto:
ARDEN Conceal [CD Stilll]
DIE TÖDLICHE DORIS – Welten – Worlds [LP Vinyl On Demand]
EXILE – Pro Agonist [CD Planet Mu]
FROG POCKET – Gonglot [CD Planet Mu]
HAROLD BUDD + ERALDO BERNOCCHI – Music for Fragments from the Inside [CD Sub
Rosa]
KOSMONAUTENTRAUM – Ungehörtes Unerhörtes [LP Vinyl On Demand]
KSCHZT The Earth¹s Hum [CD Blasé]
LOKAI – 7 Million [CD Mosz]
MATMOS / DIE MONITR BATSS Split Divorce Series 2 [7³ Ache Records]
MU-ZIQ – Ease [12″ Planet Mu]
PIERS WHYTE – s/t [CD Ache Records]
RM74 – Exkursion [CD dOc Recordings]
SENSATIONAL – Speaks For Itself [CD Quatermass]
SOFTLAND – War Againstt Error [CD/LP Spezialmaterial]
TAYLOR DEUPREE + EISI – Every Still Day [CD Noble Rec.]
THE CORTET HHHH [CD Unsounds]
TU M’ – Just One Night [CD Dekorder]
V.A. – WAHRNEHMUNGEN [3LP Vinyl On Demand]
V.A. – ESSAYS ON RADIO: Can I have 2 minutes of your time? [CD Crónica]
VEX’D – Degenerate [2CD/2LP Planet Mu]
VORPAL – An Incomplete Guide to VORPAL Music [CD Cock Rock Disco]
WORLD’s END GIRLFRIEND – The Lie Lay Land [CD Noble Rec.]
>>> >>> >>>
ARDEN Conceal [CD Stilll SCD001] http://www.stilll.org
Arden, the band, unites forward-thinking micro-forces: Mitchell Akiyama,
amute, sogar, Jeuc Dietrich, Chris Bailleau, and Sebastien Roux. Their
debut, Conceal, was conceived across a three day production bender at an old
house nestled in beautiful Belgian country. The album¹s style marries a
minimal-electronic approach with post-rock sensibilities from each artist¹s
sonic palette to birth an entirely unique improvisational sound. Conceal is
a delightful production piece with unlimited moments of candid melodic
beauty that spring into dynamically intense yet masterfully contained
emotive exaltations.
Stilll was founded in November 2004 via Jérôme Deuson and Alain Lefebvre.
The aim of Stilll is quite similar to every good alternative label : work
with artists we love and do the most we can to promote their work. Stilll is
also a free ‘contact’ agency in Belgium: we are in touch with the pulse of
music and people who have the same goals as us (labels, venues, shops,
distribution, etc.). Our positive ethic is our strength yet we do not
consider ourselves just another underground label: We are an organization
existing as an accessible platform for both the audience as well as the
artists.
>>>
DIE TÖDLICHE DORIS – Welten – Worlds – Ohonntsa’shón:’a [LP Vinyl On Demand
VOD19]
http://www.vinyl-on-demand.com
Early eighties sound-project and conceptual work from 1984 also known as
“Gerry Belz”. Worlds of music ringed out on our planet. Simultaneously blown
out, not attuned but still tuned incidentally, partly at on purpose. In
1984, die Tödliche Doris was given the chance for such a coincidence of two
different worlds.
They were invited to compose the music for a fashion-show in the Deplane
Kunsthalle Berlin. For the first time, this fully documented composition
consists of 24 Audiotapes with sounds and music-recordings which were
recorded and then played with different technically defect tape-recorders
and which were accompanied of the Band “Gerry-Belz-Showband” which has been
selected from the employment-office in Berlin. The repertoire of the three
olderly men did consist of the usually well-known evergreens of
entertainment- and light-music. This Band was now confronted to play music
to those sound-collages from their
standard-entertainment-musical-repertoire.
Between one track, they had to take a 5-minute working-break and eat a huge
butter-bread. The performance of the composition “Welten – morphologische
Modemusik” has been held on the 9,66.th of Oktober 1984 at 5.30 p.m. and
21.30 p.m. during the “Durchbruch”-fashion-show in the Deplana-Arthall in
Berlin. Die Tödliche Doris is sometimes referred to an industrial-band. In
fact, the group has played and cooperated with SPK and Twin Vision. If there
is any music of the band which can be referred to Industrial, then it is
this project here, which was only released in certain pieces to this point.
>>>
EXILE – Pro Agonist [CD Planet Mu ZIQ116] http://www.planet-mu.com
Initiated into the realms of the broken beat at the tender age of 12 by a
tape from a friend’s older brother, Tim found a path he loved so much he
managed to more than double his age without deviating from it. The route has
been eventful and varied, embracing a rich harvest of musical styles, from
leading orchestras and choirs to composing title themes and scores for TV
shows.
To notch up releases on such a wide variety of labels such Moving Shadow,
Beta, Renegade Hardware, Mosquito and Planet-Mu is no mean feat. Tim’s
genre-transcending versatility has allowed him to study an MA in
electroacoustic composition, going on to win prizes in international
competitions, while contemporaneously rustling up the kind of twisted drum &
bass that has wiped the floor with punters and savvy journalists alike. His
last single on Ram/Frequency ‘King Shredda/Spanner In The WorX’ acquired two
5-star Single of the Month ratings in DJ and Knowledge magazines.
Eager to increase his dancefloor mastery, Tim has also collaborated with DJ
and MC Temper D (Renegade Hardware, G2) to create the kind of addictive,
pounding, relentless drum & bass that is the stuff of parents’ nightmares
and punters’ dreams. Tim has worked with long-standing friend John B on many
occasions, with the pair united in their quest to stamp out generic drum &
bass – and bring more quirkiness to the electronic scene.
We think Tim has succeeded in this with his debut album “Pro Agonist”. Not
content with merely creating the kind of drum’n’bass that leaves you
open-jawed, Tim has created a masterpiece, bringing in all his influences
from electroacoustic compostion to his little choirboy voice. The result is
an album that defies catogarisation while leaving the listener completely
fulfilled.
Tim’s latest accolade is winning a prestigious competition run by the V&A
museum in London, creating a site-specific composition for the temporary
exhibition ‘Shhh!’ In the coming months, Tim has an exciting schedule.
There’s a stinking pile of releases set to hit the shops in the next few
months on labels ranging from Cristian Vogel’s experimental techno imprint
Mosquito, US edit jungle hellraisers Evol Intent, Exile’s long-time home
Beta Recordings & Ram offshoot Frequency.
>>>
FROG POCKET – Gonglot [CD Planet Mu ZIQ097] http://www.planet-mu.com
Frog Pocket aka John Charles Wilson hails from Ayr in the West of Scotland.
‘Gonglot’, his debut full length album, featuring songs culled from between
1999 & 2005, some originally self-released on his own ‘Mouthmoth’ label.
Incorporating unquantised drum machine backing beats played by hand into his
four-track, live fiddle, mandolin, processed guitar and vocals, Frog Pocket
has maintained his credibility both as a Scottish musician and contemporary
electronic performer.
The folk-inflected melodies owe more to the celtic side of things than the
current vogue for American folk-rock/electronic crossover. It is a pastoral
theme in electronic music running back through Boards Of Canada to Aphex
Twin and originally Ultramarine.
Frog Pocket is a regular on the live circuit and friendships with other
labels ensures he always keeps himself busy. His most notable release was
2003’s beautiful ‘Moon Mountain of the Fords’ on the Scottish Benbecula
label.
His dedication to live performances and networking with other artists and
labels has paid off in the form a friendship with Mike Paradinas at Planet
Mu. In 2003 Planet Mu released a 7″ single and in 2005 the label has finally
compiled this full length release. To know the music is to the love the man
and his quirky and somewhat misinterpreted demeanour only adds to his
mystique. The fractured AFX-like beats alongside beautiful melodies and the
energetic live act, sit at odds with a character so unassuming and modest.
With the Planet Mu album, 2005 could be the year that Frog Pocket breaks.
>>>
HAROLD BUDD + ERALDO BERNOCCHI – Music for Fragments from the Inside
[CD Sub Rosa SR239]
http://www.subrosa.net
An astonishing piano player drifts on beats and scapes. Recorded during a
magic night in the courtyard of a Siena Renaissance Italian Palazzio where
the lightness of Harold Budd meets Eraldo Bernocchi’s deep electronics.
Beats and bass, drones and scapes tie together harmonically to meet one of
the most emotionally involving piano player/composer.
>>>
KOSMONAUTENTRAUM – Ungehörtes Unerhörtes [LP Vinyl On Demand VOD20] http://www.vinyl-on-demand.com
A superb collection of mastermind Michael Jarick of his early 80’s minimal
7″ tunes, two of their
hits, his first 7″ plus six unreleased minimal-tunes from 1981.
>>>
KSCHZT The Earth¹s Hum [CD Blasé BLA007] http://www.blaserecords.com
The new release on blasé will be KSCHZT’s first LP release since his Merck
records days as MD and is eagerly anticipated by discerning electronica
fans. It’s called The Earth¹s Hum and communicates the most complete sense
yet of the Finnish wonder¹s talents.
For Blasé, their first full album release represents a real step forward-
enabling an artist to fully express himself on a more extensive format;
building and purposefully destroying atmosphere, and expressing life and
cadence on a larger scale.
The Earth¹s Hum, as universally as its title suggests, compels the listener
to experience a depth and potency of emotion, finely tuned by KSCHZT through
his electronica. With an elaborate mix of machine language, human words and
vintage instruments, KSCHZT re-establishes the bridge between man and
machine: which, working in synergy, can create electronic music that is
emotive and poignantly human.
From the glitch funk of Varkain, set to rock alternative dance-floors
throughout the world, to the lovely licks, striking softness, subtlety and
melodic sensitivity of emotional tracks like Hands of Cotton, juxtaposed
with the spacey and scientific dub of Reverse polarity, KSCHZT creates his
owndensely patterned universe. The Earth¹s Hum completes a perfect circle
composed of his multi-faceted talents.
Extremely varied, yet with a finely orchestrated coherence and construction,
³The Earth¹s Hum² represents a real achievement in the career of both
KSCHZTand blasé; a new beginning and a promise of more great things to comeŠ
>>>
LOKAI – 7 Million [CD Mosz 006]
http://www.mosz.org
http://www.lokai.at
Florian Kmet: guitars, Stefan Németh: electronics, additional guitars on 2 +
3
“In lokai´s music tunes and tones merge and diverge. Guitar and software
combine in compositions that stray to and fro across the borders between
analogue and digital, structure and instability, music and sound. Parts of
songs – loops, melodies, chords – float like moody jellyfish in electronic
space. musical threads fly apart and reconvene in unresolved clusters.
There´s always another twist of the kaleidoscope to come. With ears
sharpened in Vienna, Stefan Németh and Florian Kmet carry their musical
baggage lightly, edging their work into thickly textured explorations of
states of uncertainty. The old advice still holds good: play loud.³ (Will
Montgomery)
This is what the artists say: “A basic impulse to form lokai was to combine
and expand the sound spectrum of an electric guitar with the possibilities
of electronic instruments on a structural and tonal level….tracks should
oscillate between song formats and random-like situations. Within this
scenario the dynamic range goes from extremely dense layers to fragile and
ramified constructions of fragmented melodies and sounds. The components are
rendered to instrumental music, thoroughly containing a certain
impressionistic aspect. Lokai was founded in 2003 in Vienna.
>>>
MATMOS / DIE MONITR BATSS Split Divorce Series 2 [7³ Ache Records ACHE016] http://www.acherecords.com
Following the highly sought after Hella/Fourtet split, comes this second
installment in Ache Records’ Divorce 7″ series. The second chapter of the
DIV/ORCE series unfolds to reveal two tracks so well-made for each other,
it’s hard to believe it wasn’t intentional. Both songs push threw
themselves, relying on pillars of rhythmic energy, and both seem to collapse
on themselves midway, one from intense digital editing, the other from
naive, fee-jazz influenced tom foolery.
It is not surprising that Matmos, an electronic duo from San Francisco who
are famous for their specific and disciplined sampling regime which normally
reveals strong subtext has taken an interesting and thoughtful direction for
their side of this 7″. They fit neatly into place, almost as spokesmen for
the whole DIV/ORCE series by toying with the notion of genre and how broad
one can stretch the spectrum. They’re track, a playful cover of a GLADYS
KNIGHT AND THE PIPS number, leaves the listener second guessing not only
certain stigmas branded to more cerebral forms of music, but the entire idea
of electronic music itself. The duo has championed the art of wandering
outside of the lines, as they have done with each of their releases on
MATADOR, as well as the bulk of the programming for Iceland’s BJORK.
The northwestern four piece, Die Monitr Batss, shines equally as bright on
their side with a track of jerky, false-start rhythms, saxophone blasts, and
guitar noise which sound surprisingly more disciplined then their latest
release on DIM MAK. This is not to say that they have abandoned the chaos
completely. But even the chaos seems to be somewhat more intentional. The
death of music has been announced many times over, but it is with Die
Monitr Batss that one sees music not as a corpse, but as a new, mutant form
of life.
The parallels between these artists, however buried or abstract they may be,
are certainly present. There is a similar creative energy among them both,
made present by the seemingly endless possibilities of potential directions
either of these songs could travel in. Both seem to be bound by no specific
code, leaving them free to wander and explore without any creative
restrictions.
>>>
MU-ZIQ – Ease [12″ Planet Mu ZIQ130] http://www.planet-mu.com
First new material from Mike Paradinas’ µ-Ziq project since Bilious Paths.
This three track 12″ contains live favourite ‘Ease Up’–a slow dubwise
drum’n’bass/breakcore cut that’s been ending his sets nicely for the last 2
years–the halftime breakdown introduces a malevolent kick drum of immense
proportions that drags the course of the track against its will into
hardcore territory.
‘Wergle The Proud’ brings back the famous Paradinas melody lines weaving and
interacting like they’ve never been away: reminiscent of Lunatic Harness.
The B-side contains the V.I.P mix of Ease up – a 13 minute epic build up
riffing on the original samples and bass which then break down into
underwater dub melody and bass, slowly but expertly brought back up into 5
further melodic ‘movements’.
>>>
PIERS WHYTE – s/t [CD Ache Records ACHE017] http://www.acherecords.com
Piers Whyte sets out on his maiden voyage from obscurity to the land of
published music by creating a digital vehicle he is determined to destroy.
Aboard this ship are collected personal postulations, mistakes, successes
and failures left to mingle and eventually procreate or go extinct as they
will. This little voyage was charted to, in turn, hypothesize, celebrate,
reject, lament, brood, accept and rejoice.
“If music can remind you of a frigid cold day with snow blowing violently,
and you sitting all alone in just a small shack that barely keeps the cold
out, then this would be your band.” – Sayrah.net
“Ever wonder what an explosion of a dozen iMacs running Reaktor sounds like?
Ever ponder what would happen if somebody sampled Lou Reed’s Metal Machine
Music and jumbled its DNA? Piers Whyte, baby–abstract glitch with its shirt
untucked and its blood over-caffeinated.” – Seattle Stranger
>>>
RM74 – Exkursion [CD dOc Recordings 10] http://doc.test.at
Swiss-born Reto Maeder a.k.a. rm74 lives in Bern and has busied himself with
electronic and electro-acoustic music for over 10 years. Maeder’s first
release ’mikrosport’ (2000, Domizil) led us into his playful acoustic
experience park of small things. With his second release “instabil” (2002,
Domizil) he invitied us into his atonal soundlaboratory, where he crossed
pianos with computers.
With his third solo-release “exkursion” rm74 abducts us into the thick
undergrowth of his sound-archaeologists-camp. Here Mäder recommends the
following day’s program to the adventurous excursion participants: “In the
morning we shall auscultate the bizzare blossoms of sound created by
voracious vermins. During the day we shall snap the twigs of sick trees
until our auditory passages snap. And at night we shall roast our hard-discs
over the campfire and shall fervently sing of our joy of music”.
The 12 pieces of Maeder’s studies of aleatoric electro-acoustics on
’exkursion’ include a broad spectrum of sound sources. Sprained organ sounds
are stood as self-evidently next to tender piano motives as
computergenerated tones are placed next to song-based e-bass-playing.
Through unique ways of post-treatment rm74 adds new dimensions of sound to
these recordings and explores the expansions of traditional seeming
acoustical and rough electronic musics.
But “exkursion” also allows a lot of space for atonal boxhauling, and
melancholy melodies. He scrapes surfaces and reveals very personal tracks
filled with desperate, contemplative, but also grippingly paranoid moments
full of frequencial surprises.
Further results of Maeder’s sound archaeology flow into the actionistically
inclined project OHNE (Dave Phillips/UK&CH, Daniel Löwenbrück/D, Tom
Smith/US, Reto Maeder/CH), with whom he toured expansively through eastern
europe in 2002, and who opened avanto’s festival for outsider avantgarde art
in Helsinki in 2004. On OHNE’s East-European trek Reto met Alexei Borisov
(RU), with whom he recorded the track “pocket-life”, included on
“exkursion”.
>>>
SENSATIONAL – Speaks For Itself [CD Quatermass QS151] http://www.quatermass.net
About “radicalism”. Sensational isn’t really the kind of sweet R’n’B “for
the masses” artist.
Nor is he some agressive member of the experimental inteligentia (even if
he used, when he was 15, to rhyme to records by the German avant-garde
electronic composer, Stockhausen). His style is somewhere in between, if his
flows and music sounds radical it is more because it is some essential
breath, some rough expression of his unique personality. It ain’t no
surprises if he was born into the world of beats under the nickname Torture.
In the home of the holy bass, the temple of the of the hazy rhymes known as
Wordsound, Sensational found a refuge. He started there to destroy rules and
boundaries. In reggae, we were blessed with the maniacal genius of Lee
Perry; in jazz, we had Sun Ra; and in hip-hop no one even comes close to the
one they call Sensational.
You can trace the man back on the Jungle Brothers’ album JBeez Wit Da Remedy
(Warner Bros., 1994), on which he rhymes at 180 beats per minute, perfect
match as Torture came to the attention of WordSound through producer Bill ”
the Bass” Laswell, who worked on the Jungle Brothers sessions .Rapidly
Torture changed his name to Sensational and released his solo debut, Loaded
With Power (WSCD022), an album like no other in the annals of hip-hop. “The
most bold and experimental hip-hop record of the last decade,” as some said.
tripped-out flows, broken beats, and lo-fi ambience which created an epic
event in hip-hop…l created by one man with a four-track and a drum
machine.
In some old school vein, and totally out of the commercial system, the man
plays all his sounds live (no samples allowed!). Upgrading to an 8-track for
his sophomore effort, Corner The Market (WSCD032), gave him greater
flexibility as he also used a real microphone this time around instead of
recording vocals through his headphones (as on Loaded With Power).
Still wowing heads with his blunted, poetry-in-motion sickness, he released
two singles for the popular indie rock label Matador (“Party Jumpin” and
“Beats, Rhymes & Styles”) before dropping his third full-length,
Heavyweighter (WSCD037) which continues on a trajectory for outer space.
Along the way, Sensational did an album for Mike Patton’s Ipecac label, Get
on My Page, before returning to WordSound for his latest, greatest release,
Natural Shine (WSCD044). The story now continues with the album “speaks for
itself”, an new full-length album for quatermass…
>>>
SOFTLAND – War Againstt Error [CD/LP Spezialmaterial SM021] http://www.spezialmaterial.ch
Softland is a solo project with a determined do-it-yourself mentality.
“War Againstt Error”, Zürich-based Christof Steinmann’s second album after
his debut “One Is A Very Small Crowd” (2003), consists of six longer
experimental popsongs written between 1997 and 2005. The stylistic bandwith
spans from melancholy lo-fi popsong and datapop-chanson-parody to
bewildering soundscapes that unexpectedly morph into intricately arranged
electronica-tracks in full cinemascope format.
All tracks share a certain tendency towards eclecticism, apparent in
opulently playful song structures and an almost outrageous combination of
stylistic influences such as minimal music, electroacoustic or imaginary
folk music. The cd-version adds several more tracks and broadens the
spectrum of the six core tracks by interlacing them with field recordings
and weaving the whole into a soundtrack-montage, considerably exceeding the
lenght of a standard pop album. Using field recordings as a basis, the
tracks combine acoustic instruments (double bass, harmonium, recorder,
voice) with synthetic sounds derived from analogue sources and digital
processing. In the exploration of unusual timbres, sounds and harmonies,
softland uses his limited instrumental technique as consciously as chance
algorithms, software abuse and an alchemistic trial-and-error strategy
within compositional structures. By layering, filtering, cuttting and
pasting, what seemed a lack of precision grows into a dense structure of
intricate rhythms and complex harmonies. The end result retains pop and club
culture as core reference points while at times stretching the boundaries of
these genres beyond recognition: File under Eklektronica.
>>>
TAYLOR DEUPREE + EISI – Every Still Day [CD Noble Rec. CXCA-1164] http://www.noble-label.net
Now the noble label is proud to announce its 10th release: Every Still Day
by Taylor Deupree and eisi. The sound artist based in New York, Taylor
Deupree, reconstructed the seventh release from the noble label back in
2003, the album titled awaawa by the group eisi.
First released in 2003, melodies spinning softly upwards into the gentle
air, the ethereal voice of Mujika Easel melting into serenity, eisi’s awaawa
brought forth a storm of quiet excitement among listeners.
New York-based musician Taylor Deupree liked awaawa and requested to work on
the reconstruction project. Deupree owns three labels of his own: 12k, LINE
and Happy, and he has also released albums from major world labels such as
Mille Plateaux, Raster-Norton, and Sub Rosa.
eisi sent Deupree individual tracks of the songs on the original album, live
recordings, and unreleased versions. Deupree preserved the organic quality
of the original tracks as he applied his own style of delicate digital
processing, weaving the layers and fragments into the sonic tapestry that is
this album.
San Francisco musician Christopher Willits added his characteristic warm
guitar-work to the album. Willits also collaborated with Deupree on a
release last year.
In his recent work Deupree has revealed glimpses of his more melodic style
of music. This fresh and unique electro-acoustic masterpiece is one place
where Derupree has arrived in a musical journey toward acoustic sounds.
>>>
THE CORTET HHHH [CD Unsounds 10u] http://www.unsounds.com
Cor Fuhler has brought together a quartet of unique and unconventional
improvisers that explore worlds of complex sonic textures with ensemble
playing of the highest order. The sound world that is conjured on this CD
owes as much to electronic music as to the free improvised music styles from
which the musicians hail from, and although three of the four instruments
are purely acoustic, it is the aesthetics of electronic music which have had
a clear influence on their sound. Textures reminiscent of early synthesizer
music and jagged sounds that could have originated from digital processing
are replicated and transformed through purely acoustic and analogue means,
whilst always retaining the fluid form of an improvised structure.
John Butcher who has pioneered a unique sound and technique on the
saxophones, creates tones and resonances that reminds one of the crackling
and sputtering of analogue synthesizers.
Rhodri Davies, using various metal objects, such tambourine cymbals on a
closely miked harp, brings to play his trademark abrasive sound world that
functions more like a subterranean noise generator than the celestial
associations that the instrument provokes.
The highly prepared piano style of Cor Fuhler, which makes use of various
electromechanical devices (including 12 ebows), makes the piano sound like
never before, at times like a sine-generator/overtone-cluster at other times
like an electric zither, and every now and again perfectly timed chords on
the keys that remind us of the orginal function of the instrument.
The only real electronic instrument, Thomas Lehn¹s EMS synthi A , a classic
analogue synth with a very rich sonic palette, as well as an archaic
sounding spring reverb, is played with the gestures and expression of an
acoustic instrument.
The resulting music always retains a lightness and transparency of texture,
sharp unexpected corners ,a quickness of communication between the
musicians, and a cohesiveness as a group that blends so well together, that
one is sometimes left wondering who exactly is playing what and how.
>>>
TU M’ – Just One Night [CD Dekorder 012] http://www.dekorder.com
Tu m’ is a duo from Città Sant’ Angelo, a small village in central Italy.
Emiliano Romanelli and Rossano Polidoro have started Tu m’ in 1998 (named
after Marcel Duchamp’s last painting) and since then released several
critically acclaimed records on labels such as Phtalo, ERS/Staalplaat,
Fällt, Aesova and BOXmedia. They have recently started Steno with Frank
Metzger of Oval (debut LP coming soon on the En/Of label). They have
collaborated with Steve Roden for an album release on Rossbin and are
currently working with Simon Fisher Turner on some new tracks to be included
on his forthcoming album on Mute Records.
Additionally they run the CD-label Mr. Mutt (another Duchamp reference) and
curate the MP3-label Tu M’p3 releasing Soundtracks to webcam pictures by a
diverse range of artists such as Donna Summer, Dälek, Chris Cutler, Noel
Akchote, Farmers Manual, Voice Crack, Alan Licht, David Grubbs and Dekorder
artists such as Voks, Un Caddie Renversé dans l’Herbe and Black to Comm.
Their new album titled “Just One Night” still contains their trademark
improvisations on guitars, alto sax, flutes, toy keyboards, alto flugelhorn,
percussion, harmonica, etc. looped, processed and edited into compositions,
combined with field recordings and the odd vinyl sample used occassionally.
These raw materials are sculpted into beautifully melancholic songs all
dealing with the “night” theme, making this their most coherent album yet.
The album has been mastered by Marcus Schmickler (Pluramon, MIMEO, etc.). A
new track by Tu m’ has appeared on the latest Wire Tapper compilation.
>>>
V.A. – WAHRNEHMUNGEN [3LP Vinyl On Demand VOD18] http://www.vinyl-on-demand.com
Members of the group P.D. (later renamed P16.D4) founded the label Selektion
in 1980. Using the name Wahrnehmungen the label released 19 cassettes in
1980/1981. The tapes mostly presented experimental projects by members of
the group and their collaborators. This set features 5 of these cassettes,
each taking one LP-side. LP-side 6 can be seen as a virtual cassette: P16.D4
recordings from 1981, here released for the first time ever.
Incl. ERTRINKEN VAKUUM: KURZSCHLUSS, LLL: PERMUTATIVE DISTORSION: DER
APATHISCHE ALPTRAUM, P16.D4: (members will furthermore receive an exclusive
2-track 7″ with Outtakes from P16.D4’s “Distruct-project”, recorded 1983
incl. material by R.Rupenus / Bladder Flask and Sea Wanton / NTL, lmtd. 250)
>>>
VARIOUS ARTISTS – Essays on Radio: Can I have 2 minutes of your time?
[CD Crónica 020 + DVD Crónica 021 PROMO ONLY FOR CD!]
http://www.cronicaelectronica.org
Crónica is now 2 years old.
Presently with 19 releases published and more on preparation, we’re
releasing Crónica 020~2005 and Crónica 021~2005, our second compilation, and
one in two volumes. This compilation comprises an audio CD + DVD release
and, as merely compiling tracks is of no big interest to us (no matter how
interesting the tracks may be), what we searched for was an unifying idea
that could help to create a coherent collective composition, not only
showcasing both the artists and the label, as well as providing the
possibility for some meaningful work to be done.
Essays on Radio aims to comment on the sound medium, on the technology and
the culture of radio.
In the midst of media saturation, radio can easily end by being an
overlooked medium, not only due to its lower visibility compared to most
mainstream media but mostly because it is an un-visual medium. It is also
one of the longer standing and of the oldest electronic media that is still
alive, so the novelty factor is not a help.
Radio was the first broadcast medium, as well as the first that was
sound-specific and intangible. Historically, radio was the primary
responsible for an awareness of sound that went beyond the strict scope of
music. Radio is a saturated live medium, where much happens simultaneously.
Having little or no control about the sources and the interferences during
broadcast and reception turns radio into a medium where we can easily and
objectively experience noise. Therefore, it was probably through radio that
many first heard white noise. It was probably with a radio receiver that
many first modulated noise as it was probably through radio that we
experienced randomness along with the lack of control and indeterminacy.
This theme was intended to provide the artists with a starting point to
approach the work. Unlike we did in the previous compilation, there would be
no audio sources provided to the artists beforehand. In this release, what
we were looking for were not exercises on composing from shaping any given
sound matter but rather on relating the musical pieces to this particular
context: Radio.
As a further way to coherently organize the CD, we asked all the artists to
produce the pieces with a fixed duration. This symbolic length allowed us
to fit work from some of the artists we released so far and a few selected
guests and it also served as a strong structure binding all the compositions
together. Given the fact that we are closing the 2nd year of Crónica
releases, we proposed that all tracks should have the fixed duration of 2
minutes, exactly. Therefore the sub-title: Can I have two minutes of your
time?
The CD compilation features compositions by: @c, Heitor Alvelos, Antmanuv,
Gilles Aubry, Autodigest, The Beautiful Schizophonic, Heimir Björgúlfsson &
Jonas Ohlsson, Boca Raton, Cáncer, Miguel Carvalhais, Lawrence English,
Christine Fowler, Freiband, Ákos Garai, General Magic, Pawel Grabowski, John
Hudak, Vitor Joaquim, Gintas K, Longina, Luis Marte, Stephan Mathieu,
o.blaat, Ok.Suitcase, Pal, Pimmon, Jörg Piringer, Pita, Pure, Random
Industries, Paulo Raposo, Pablo Reche, James Eck Rippie, Sumugan Sivanesan &
Nick Dan, Ran Slavin, Steinbrüchel, tilia, Pedro Tudela, Durán Vázquez.
On the DVD you will find videos by: Isabel Abreu & Rita Barbosa, Antmanuv,
Erich Berger, Brigitta Bödenauer, Júlio Dolbeth, Tina Frank, Horacio G,
Maximilian Jänicke, Karl Kliem, Sara Kolster, Jan Robert Leegte, Lia,
Stephan Mathieu, Meta, Ok.Suitcase, Jörg Piringer, Paulo Raposo, Return,
Sumugan Sivanesan, Ran Slavin, Telco Systems, Nuno Tudela, Marius Watz.
Created to the music of: @c, Antmanuv, The Beautiful Schizophonic, Boca
Raton, Miguel Carvalhais, Christine Fowler, Freiband, General Magic, Pawel
Grabowski, Gintas K, Longina, Stephan Mathieu, Meta, Ok.Suitcase, Pal, Jörg
Piringer, Pita, Pure, Random Industries, Paulo Raposo, James Eck Rippie, Ran
Slavin, Steinbrüchel, Pedro Tudela, Durán Vázquez.
>>>
VEX’D – Degenerate [2CD/2LP Planet Mu ZIQ115] http://www.planet-mu.com
Vex’d are London based duo Jamie and Roly. Initially sharing a love for
jungle music, the pair soon developed a thirst for darker, edgier sounds:
digital graffiti music, however it comes. Emerging last year with the
classic ‘Pop Pop’ (released on Subtext), Vex’d founded a solid reputation
for uncompromising music that still manages to shockout genre boundaries.
The tracks featured on their debut album exemplify their talent at working
twisted rhythms over panic stricken basslines. ‘Gunman’ is constructed
around a particularly demented bass riff that cuts right through speakers
with energetic charge. ‘Smartbomb’ is a bone-crunching grime instrumental,
packed with industrial brutality. Tough, tough rhythms – exclusive to this
sampler.
Vex’d reprise their first 2 classic singles on Bristol’s Subtext label
(which blew the dubstep scene apart) which appear here in their VIP
versions. Degenerate features 12 tracks of dark electronic dub and
industrial rhythms. Influenced by Grime and Dubstep as well as the
electronic underground scene – Vex’d have a truly unique sound. Distorted
repetitive waves of bass have more in common with early Aphex classics,
bleep techno or twisted neurostep drum’n’bass than the rest of the dubstep
scene. The rhythms are constructed with Swiss precision: all the correct
weightings on the kick and snare for maximum club impact. But it’s not all
about the club, there’s a dark foreboding atmosphere at work here – possibly
the first gothic dubstep album?
Initial orders of the CD format feature a special limited edition bonus 6
track CD of Vex’d’s singles on the subtext, planet mu and destructive
imprints.
>>>
VORPAL – An Incomplete Guide to VORPAL Music [CD Cock Rock Disco Crock004] http://www.cockrockdisco.com
You will ask yourself: “What the fuck is this?” Yep, it’s the debut release
from VORPAL. A sort of rickety old wooden rollercoaster careening on a
broken track of amazing fast breakbeat processing, insane noises, and held
together in a sort of antique haze.
VORPAL is Andy Kozloski, From Pittsburgh Pennsylvania, and we can honestly
say that “An Incomplete Guide to VORPAL Music” is the greatest album ever
made. It’s an explosive collection of tracks both new and ancient, creating
some vague form of nostalgic neurosis. But it slams too. “An incomplete
guide” could easily find itself between abstract hip-hop like Def Jux or
Anticon, as well as Squarepusher, Luke Vibert, and Otto Von Schirach. Hell
one could even find a few traces of the Grime sound all the journalists are
talking about. But fuck all that, just give it a listen and hear for
yourself.
This is the fourth release from Cock Rock Disco, founded by Jason Forrest
and distributed worldwide by Cargo UK. Cock Rock Disco has been established
to release amazing new music by a new generation of producers. Please look
for upcoming releases; they are fucking great, we promise.
>>>
WORLD’s END GIRLFRIEND – The Lie Lay Land [CD Noble Rec. CXCA-1160] http://www.noble-label.net
We have released two albums of a now internationally acclaimed
next-generation musician, world’s end girlfriend, as the noble’s launching
artist. With the unprecedented success of his two albums, farewell kingdom
and dream’s end come true, he bridged genre gaps and was widely praised by
the fans of techno, abstract, post-rock, avant pop and electronica. His
musical career includes the performance in Sonar festival 2002 in Barcelona,
and the successful tour in Taipei, Hong Kong and Macao in 2004.
He now returns with a band of freaky raw drums, horns, piano and a bass
guitar, and tens of layers of guitar noise while retaining his well known
style: excessive editing, collage and elegant strings arrangement. In
self-produced The Lie Lay Land, his first album in two years, he created
another grandeur fiction, 10 tracks, 80 minutes long.
Listening to The Lie Lay Land resembles watching the films, say, by Emir
Kusturica or Jan Svankmajer who portray a fleeting fantasy ludicrously and
poignantly at the same time, or the films of Lars von Trier and Gaspar Noe
who always sway our emotions with a relentless and extremely demanding story
progression. His music, like those films, shows us a fictional world as a
finished work.
>>> >>> >>>
LIVE DATES
KONONO NO.1 [TERP]
07/07 FR Bordeaux, Hauts de Garonne
08/07 FR – Rennes
10/07 BE Brugge, Cactus
15/07 IT – Potenza
16/07 IT Roma, Fest. Villa Ada
17/07 IT – Montecosaro
18/07 IT – Mestre
19/07 IT – Torino
21/07 BE Brussels, Bozar
24/07 FR Paris, La Vilette
30/07 PT – Sinès
31/07 AT Krems, Krems Festival
THE EX – presented by SPEX Magazin
17/11 DE – Oldenburg – Alhambra
18/11 DE – Marburg – Café Trauma
19/11 DE – Berlin – Bastard
20/11 DE – Jena – Kassablanca
21/11 DE – Reutlingen – Nepomuk
22/11 DE – Munich – Feierwerk
23/11 DE – Darmstadt – venue TBA
25/11 DE – Bielefeld – Bunker Ulmenwall
26/11 DE – Dortmund FZW
THILGES3 / METALYCEE
08/07 AT Thilges3: Kunsthalle Wien
29/07 AT metalycée: poolbar – feldkirch
30/07 AT – thilges3 plays izdiucz: poolbar – feldkirch
02/08 SL – thilges3 plays izdiucz: sajeta festival
04-07/08 DE – thilges3 plays izdiucz: garage festival stralsund
04-07/08 DE – thilges3 +Claudia Märzendorfer: garage festival stralsund
DENSE Promotion
Benndorf + Picicci GbR
Danziger Str. 16
10435 Berlin / Germany
Ph +49 30 44 34 02 90
Fx +49 30 44 34 02 91
dense@dense.de
http://www.dense.de
