Dense Promotion News

Hallo & greetings from Berlin,

Read you soon & best wishes,

ALEXANDER TUCKER – Custom Made 2×7″ ATP/R

ALEXANDER TUCKER – Portal LP/CD ATP/R

BEEHATCH – Beehatch CD Lens

COH aka IVAN PAVLOV + COSEY FANNI TUTTI CD raster-noton

GESKIA – Silent 77 CD Flau

GILLES GOBEIL – Trois songes DVD-A empreintes DIGITAles

NICOLA RATTI – From the Desert Came Saltwater CD Anticipate

PHILIP JECK – Sand CD Touch

RUSSELL HASWELL – Second Live Salvage 2LP Editions Mego

TAKAHIRO KIDO – Fleursy Music CD Plop

TAPE – Luminarium CD Häpna

THANK YOU – Terrible Two LP/CD Thrill Jockey

THE HAFLER TRIO – Dislocation CD Korm Plastics

TUPOLEV – Memories Of Björn Bolssen CD Valeot

V.A. – Little Things CD Flau

V.A. – The Best Of Polish Smooth Jazz… Ever! CD Recycling Records

YASUSHI YOSHIDA – Little Grace CD Noble

ZERFU DEMISSIE – Akotet CD Terp

ALEXANDER TUCKER – Custom Made

Gatefold double 7″ ATP Recordings ATPR6D02

http://www.atpfestival.com/atp-recordings/alexander-tucker/

ATP Recordings is pleased to announce the second instalment in our Custom Made series from English free-folk wunderkind, Alexander Tucker. Custom Made invites artists to submit 4 songs which will be released on limited edition 7″ and will also be available as a digital download.

* Side A. Something old – Phantom Rings (New recording of this old song from the album Old Fog)

* Side B. Something new – Veins to the Sky (Single Version (taken from the new album Portal)

* Side C. Something borrowed – Rodeo in the Sky (originally by Fursaxa)

* Side D. Something blue – Florence Blue (Exclusive to this release.)

“I chose ‘Phantom Rings’ because I didn’t have a recorded version of the way I play it live,” states Alexander. “Live, the track features a heavier riff and a harmonised vocal cycle as opposed to the original, which is mostly acoustic and has two other parts to the song.”

“‘Veins To The Sky’ is one of my favorites from the new album ‘Portal’. It’s an attempt at writing a more linear song whilst still using some psych electronics. On the new material I use an electric mandolin to create bowed symphonic layers which gives the music a more classical edge.”

“‘Rodeo In The Sky’ is one of my favourite Fursaxa songs. It appears on her self-titled Ecstatic Peace LP. It really struck me with its dreamy imagery of night skies and nocturnal yearnings. The original is just guitar and voice and I always imagined what it would sound like if Tara had a whole band playing.”

“‘Florence Blue’ was written and recorded on 8 track in a house on Florence Street (and yes I had the blues when I put it down). I’d also been listening to this amazing Neil Campbell and Richard Youngs LP ‘How the Garden Is’ – where they build up these swirling vortexes of acoustic instrumentation. The basis for my track includes small nano loops of bowed mandolin phasing across each other, accompanied by a sort of doom-y classical guitar pulse and a melancholic vocal drift”

Limited to just 1000 pieces, 100 of them will be special edition silk-screened printed covers, numbered and signed by the sleeve designer, Alexander Tucker. ATP Recordings release Alexander’s magnum-opus ‘Portal’ in May 2008.

ALEXANDER TUCKER – Portal

LP/CD ATP Recordings ATPRCD30

Streetdate: May 30

http://www.atpfestival.com/atp-recordings/alexander-tucker/

Texts of this nature usually require the author to make fashionable or wilfully oblique references to artists past and present. Portal, the third Alexander Tucker long player for ATP recordings is a work of such bewitching splendour that any such comparisons would read like hyperbole, thus doing it a great disservice. Even Tucker’s Previous albums (Old Fog and Furrowed Brow) seem like stepping stones in the wake of Portal. But if we must draw comparisons then lets say Chicago musician/composer Jim O’Rourke; both are unparalleled in their pairing of the 20th Century avant-garde techniques of composers like Stockhausen and Steve Reich with the archaic sounding free-folk of John Fahey, Robbie Basho and Loren Connors.

The late Karlheinz Stockhausen envisaged music where “instead of very precisely formed single notes there are little complexes, little crystalline blooms that pass through a register form.” During Portal, Tucker’s finger-picked  guitar lines become indistinguishable from the more traditional string arrangements and voice. These melodic clusters interweave like the paths incurved by a figure skater. This is still to say nothing of Tucker’s voice, which sounds as if it is emanating from a ghost channel on an ancient mixing desk rather than appear sung on top of the epochal arrangements. It’s a voice comparable perhaps to Meddle era David Gilmour or John Martyn on Solid Air. These are big claims of course but then Portal is a work of such extraordinary majesty that even trying to surmise it in words seems like a heresy. If you disagree after listening, then I’m sorry to inform you that you are spiritually dead. – Tony F Wilson.

Alexander Tucker is supporting Fuck Buttons on their current UK tour.

BEEHATCH – Beehatch CD

CD Lens Records LENS0019

http://www.lensrecords.com

http://www.myspace.com/beehatched

BEEHATCH is the new project from PHIL WESTERN and MARK SPYBEY, who met in Vancouver, whilst playing together in Download. Ten years have elapsed since they last worked together. During that time, Phil has released a number of solo and collaborative albums and has continued to work as part of both Download and platEAU (w/ cEvin Key of Skinny Puppy fame). He is also a producer and DJ. Mark has continued to release albums as Dead Voices on Air, Reformed Faction (a band formed with fellow Zoviet*France members) and has collaborated with many musicians, including members of Can and Faust.

BEEHATCH was initiated as the result of a “shall we make an album together” chat on the telephone. The album was recorded in Los Angeles and England via internet file sharing Far from being an impersonal way of making music, this technique has liberated the approach to the making of this album. Gone are the days of being locked in an expensive and often creatively dead studio-space. The musicians were able to make music at leisure, in familiar environments. Phil and Mark have developed similarities in an approach to music making but in essence, Phil emerged smiling from the generation electronic and Mark slowly crept out of the distant days of four tracks and homemade instruments. Both are seasoned improvisers who started life as drummers and tend to ignore as many of the so-called ‘rules of music making’ as possible.

Nothing is clear. Everything is possible. Accidents are encouraged.

This CD is packaged in a 6-panel digipak with original artwork by Mark Spybey. Audio mastering courtesy of Frankie Pett.

COH aka IVAN PAVLOV + COSEY FANNI TUTTI – COH PLAYS COSEY

CD raster-noton R-N 091

http://raster-noton.net

http://www.myspace.com/yumemiruyoninemuritai

COH PLAYS COSEY CD is the first part of an ongoing collaborative project between Ivan Pavlov/COH and Cosey Fanni Tutti known for her solo performances and work with Chris Carter/CTI as well as for being a part of the radical cultural phenomena COUM Transmissions and Throbbing Gristle. Very much a statement rather than just a musical venture, COH PLAYS COSEY deals with concepts of honesty, trust, privacy, communication as well as (perception of) sexuality. The work represents a very close, if an intimate, contact between the two, where one (Ivan) was to interpret voice recordings made for him by the other (Cosey) – recordings made in intensely emotional states to establish a dialogue that extends beyond words, beyond intellect. A most private emotional diary of one (Cosey) pronounced to the general public by the other (Ivan ). The work has been kept hermetic by Ivan voluntarily restricting his choice of sound exclusively to that originating from the voice recordings, thus preserving the raw quality of his source material.

In this explicit sonic adventure COH plays Cosey without inhibitions, without fear and without questioning the content submitted. COH plays Cosey like an actor – becoming her through his elaborate transformations of the voice. COH plays Cosey like a computer game – making his way though the infinite combinations and variety of human expression with ease and sense of fun. COH plays Cosey like in sex – fully controlling the process and manifesting the eventual outcome. COH PLAYS COSEY is a world of the embarrassingly unspoken made audible, COH PLAYS COSEY is the place where there is nothing left to hide.

GESKIA – Silent 77

CD Flau FLAU05

Streetdate: May 7

http://www.flau.jp

http://www.myspace.com/geskia

The stunning debut album by Geskia “Silent77”, is unquestionably a masterpiece of Japanese underground hip-hop and breakbeats.

“Silent77” is hugely inspired by a picturesque setting sun that has been imprinted into Geskia’s musical mind. The awe-inspiring magnitude of evening sun ray that covered a quiet town where the curtain of night was slowly falling down, is remarkably reproduced in Geskia’s dazzling energized beats and noisy beautiful pad. Geskia, through his distinctive music style, beautifully reinterpreted, with strong heartfelt emotion, the silent speed and soundless energy that relayed by the overwhelming yellowish sunbeams and the contrasted loneliness of the little town. Many of these sophisticated inner feelings of human and complex musical interpretations are expressed precisely by mesmerizing programming skill possessed by Geskia. As you will soon discover, “Silent 77” is a brilliant testimonial by Geskia, who is a ’77er, that “Silent” can be wildest loudness that evoke our feelings!

Biography

Geskia is undoubtedly the master of Japanese underground hip-hop and breakbeats. He started off his journey of sound making in 2001. Although his music style is heavily influenced by industrial music (especially by Industrial icons like Coil and Einstürzende Neubauten), trip-hop movement and techno music, but by listening to the unique music that he has been creating, one can indubitably tell that Geskia has already established his very own distinctive music style and philosophy, and it has begun to mesmerize many people, including his fellow artists.

In Japan, Geskia’s popularity is further boosted by his perfect remix works for various artists, including the equally talented aus. And now, this rising star of underground hip hop and breakbeats, has joined flau, the brilliant music label that has been promoting amazing cutting-edge and modern music.

Geskia’s music concept is to reproduce the life around him, to reflect the connections of him with others, and to manifest his perspective about the world. Many established artists spoke highly of his wonderful talent, including Dose-One (Subtle, 13 & God, Anticon), who described Geskia’s music as “very pretty, very well-made” in an interview.

It’s Geskia’s aims to produce his music by using his sixth sense and subconscious connection with deliberate feelings. “To express those tiny magical moments in life with music.”

GILLES GOBEIL – Trois songes
DVD-A empreintes DIGITAles IMED 0892
http://www.empreintesdigitales.com
http://en.wikipedia.org/wiki/Gilles_Gobeil

The pieces included on this disc are related in at least three ways.

First, they were all realized at the same location: the Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe (Germany), where I had the opportunity to complete four residencies  (for a total of almost 11 months) between January 2005 and August 2007.

Second, they all share the same musical intention. These three pieces could be classified as ‘program music,’ since they are all based on a literary argument. Ombres, espaces, silencesŠ came from Jacques Lacarrière’s 1975 book Men Possessed by God, which I read with fascination almost 30 years ago. This book tells, with detachment and ethnographic flair, of the quest for the absolute of the first monks of the Christian era. Entre les deux rives du printemps is an attempt at setting to music my impressions while reading Part Three of Dante’s great poem The Divine Comedy. As for Le miroir triste, it is kind of a ‘cinema for the ear,’ based on an unshot scenario by Andrey Tarkovsky entitled Hoffmanniana (1975), from which I have tried to evoke a few scenes.

Their third connection is found in their sound materials. I found inspiration in (and taken liberties with) the marvelous heritage of past music, an extraordinary source of colours that allowed me to borrow from the strong and still fresh poetry of various pieces, some of them ancient. Also, all three works contain materials generated by René Lussier on his stunning and rather frightening daxophone.

I would like to express my gratitude to the manager of the Institut für Musik & Akustik of the ZKM, Ludger Brümmer, and the whole technical and administrative crew, for their quality services and unfailing support during my stays at the ZKM. This album is also partly theirs. Thanks also go to René Lussier, François Gauthier, Mario Rodrigue, and Dominique Bassal.

Gilles Gobeil, Montréal [English translation: François Couture, x-07]

NICOLA RATTI – From the Desert Came Saltwater

CD Anticipate 005

http://www.anticipaterecordings.com

http://www.nicolaratti.com

Italian-born multi-instrumentalist and architect, Nicola Ratti, presents his debut for Anticipate, adding a new layer to the label, while fitting in perfectly with previous releases. Nicola’s music can best be described as warm, subtractive rock, whereby he reduces guitar figures and piano passages into quiet explorations of the hidden corners of an otherwise familiar sound. Guitars twang and elaborate chords with slight and spacious percussion and softly hushed (occasional) vocals, atmospheric sound twinkles, and the complete work congeals into a carefully composed re-imagining of music which could have gone in more traditional directions.

In terms of situating this album in the context of modern electroacoustic music, Nicola uses more natural effects treatment, shying away from fragmentation and processing which obscures the inherent character of the instruments. Rather, he uses these processes to add depth and subtly tease out the hidden sonorities of his tools of choice, re-composing them and adding atmospherics along the way. While using instruments which have their own inherent qualities, the sounds which Nicola coaxes out of them feel as if he has made them with his hands, rather than be constrained by what a guitar string is physically capable of doing. By taking advantage of electronic production approaches, Nicola reworks something which is, at the heart of it, imminently accessible, into an album which retains an inviting quality, while adding new levels of intangibility – turning a classic and subdued sound into a work which utilizes the acoustics of field recordings and found sounds as instruments in their own right – blurring the distinction – allowing the harmony between object and instrument to become more fully realized.

Dynamic and well balanced, this subtly haunting album maneuvers through full, layered sequences into spare moments of near silence and back again with ease. It isn’t a loud-quiet dichotomy, but rather, skillfully placed areas of intimacy which offset the more overtly instrumental progressions. Nicola segues from droning strings and almost invisible vocals to subtly uplifting chords in a manner which makes the transition almost unnoticeable. This is just one example of how From the Desert Came Saltwater sneaks up on the listener. It captures a quality which allows it to disappear and then completely take hold without missing a breath.

PHILIP JECK – Sand

CD Touch TO:67

http://www.touchmusic.org.uk

http://www.philipjeck.com

Design and photography by Jon Wozencroft

Mastered by Denis Blackham

” … the Day
I first surmised the Horses’ Heads
Were toward Eternity”
(from ‘The Chariot’ by Emily Dickinson)

Sand was recorded live in Holland and England in 2006/7 and edited in Liverpool January, 2008 using Fidelity record-players, Casio SK keyboards, Behringer mixer and sony mini-disc recorders.

Following Philip Jeck’s acclaimed collaboration with Gavin Bryars and Alter Ego on a new version of ‘The Sinking of the Titanic’ (Touch Tone 34), ‘Sand’ is a set of seven new compositions that highlight Jeck’s mastery of vinyl manipulation, personal and collective memories.

During the past year Jeck has refined and consolidated his unique sound, playing superb sets at last summer’s Faster than Sound festival and at York Minster for Spire. He has recently released ‘Amoroso’ [Touch # TS01, 7″ vinyl only with Fennesz]  where he responds to Charles Matthews’s homage to Arvo Pärt.

‘Sand’ is at once elegiac, celebrational, mournful and uplifting. Those who have followed Jeck’s development since his first release, “Loopholes” (Touch TO:26) will observe his return to the industrial textures that coloured that collection, though here they are fused with his symphonic grace and continued development as a composer and live performer .

Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early ’80’s and has made soundtracks and toured with many dance and theatre companies as we as well as his solo concert work. His best kown work “Vinyl Requiem” (with Lol Sargent): a performance for 180 ’50’s/’60’s record players won Time Out Performance Award for 1993. He has also over the last few years returned to visual art making installations using from 6 to 80 record players including “Off The Record” for Sonic Boom at The Hayward Gallery, London [2000].

Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick.

This is Philip Jeck’s 4th solo album for Touch after ‘Loopholes’ [Touch # TO:27, 1995], Surf [TO:36, 1998], Stoke [TO:56, 2002] and ‘j’ [TO:57, 2004]. A companion vinyl release to Sand, ‘Suite: Live in Liverpool’ [Tone 28/FACT11] is being released on US label Autofact later this Spring.

He recently performed on “The Sinking of the Titanic” with Gavin Bryars in Rome, about which Boomkat (UK) said: “The most noticeable addition is Jeck, whose expertise and unique style seems to fit like the final piece of the puzzle as his crackles and motifs melt into the architecture of the recording as if they had always been there. This additional layer of nostalgia brought forth by these found sounds adds a significant sense of history, forcing the mind back into hazy film footage and decomposed photos, a perfect match for the subject matter.”

RUSSELL HASWELL – Second Live Salvage

2xLP vinyl Editions Mego eMEGO 013

Streetate: June 30

http://www.editionsmego.com
http://www.haswellstudio.com

SIDE ONE:
1] 08:12.14, 2000, Museu de Cièmcies, Valencia.
2] 10:53.82, 2002, Färgfabriken, Stockholm.

SIDE TWO:

3] 16:02.84, 2002, Schirn Künsthalle, Frankfurt.

SIDE THREE:
4] 18:37.59, 2004, Engine Rooms, Brighton.

SIDE FOUR:
5] 5:08.62, 2006, Point Éphémére, Paris.
6] 10:12.81, 2007, IKKI, Kita Kyushu.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, April 2008.

Follow up to the award winning ‘Live Salvage 1997->2000’ CD (MEGO 012, 2000).

Hot on the heels of recent collaborative releases with Florian Hecker (as HASWELL & HECKER) on Warner Classics and WARP Records, Russell Haswell (b.1970. Coventry, UK) presents the second volume of his LIVE SALVAGE archive series. Documenting improvised real-time, computer-generated audio-presentations given over the past 10 years, in different types of venues all with contrasting acoustics and audiences.

Editions Mego is proud to announce this double vinyl LP set.

On the same day ‘Live Salvage 1997->2000’ will be available as Digital Download for the first time from all good outlets.

What was said about ‘SECOND LIVE SALVAGE’s predecessor, ‘Live Salvage 1997->2000’:

— “play this to a Slipknot fan and watch his head fall off.” – unknown web source

— “It reminds us of death. But death sells! As will ‘Live Salvage’ – though mostly to smug wanker’s who like to confuse their less ‘artistic’ friends with a barrage of outré unpleasantness.” – MUZIK

— “This is fine granulation work. I will play it for my lectures on ‘Noise Resources in Electronic Music.'” – CURTIS ROADS

— “The abstract noise excesses contained on this CD present a clear sign of an attitude critical of technology, and in addition help rehabilitate the somewhat forgotten expression, “Fuck You”. – DE:BUG

— “a fearsome, skull shattering, flesh shredding display of electronic hostility.” – THE WIRE

— “Notes reveal that seven people attended the digital apocalypse that was ’11:18:24, 2000, LOK, München’. Now you can experience the terror in your own home.” – NME

— “Haswell has made a record that not only demands but also commands your attention”

OTHER MUSIC

TAKAHIRO KIDO – Fleursy Music

CD Plop 4

http://www.naturebliss.jp

“Fleursy Music” is a breathtakingly beautiful album by young Japanese composer residing in Tokyo, Japan. He is also a recording engineer and web designer.

The album title “Fleursy Music” is a coined word meant to mean “Flower-ish Music” (made up of the French word “Fleurs” which means flower plus music) which best expresses these cinematic soundscapes. It also shows his intention to produce analog warm sounds.

He creates music by merging electronics with many type of acoustic instruments such as piano, organ, violin, viola, cello, trumpet, sax, clarinet, flute, guitar, glockenspiel, accordion, melodion, drums and Percussions. These instruments are remarkably well textured as he records these instruments in very unique situations like in the tunnel, mountains, abandoned hotel lobby and concert halls capturing the natural reverberations of the atmosphere. And after recording, he processes and carefully layers these sounds in his computer to obtain the perfect combination. The 10 tracks here were selected among over 150 compositions he made during these 2 years.

SALES POINTS:
1. Takahiro Kido is also the lead member and composer of the post rock group Anoice and have released their highly acclaimed debut album on Important Records (US).

2. Very pleasant and “composed” music which is capable of capturing wide audiences. For fans of post rock, electronic music to classical music listeners ..

TAPE – Luminarium

CD Häpna H.42

Streetdate: May 7

http://www.hapna.com

“Dreaming the same dreams, not knowing of each other. Invoking old times at new places, side by side, not knowing of each other. Longing for yearning; light of dawn and midday sun. A world which lets itself be sensed, not known; the first light of your rosy-fingered youth; birches and concrete, touch and go.

The new album by Swedish group Tape is a luminarium of sound where past and present merge at the speed of light.”

Tape is the trio of ANDREAS BERTHLING, JOHAN BERTHLING and TOMAS HALLONSTEN from Stockholm, Sweden. This is their fourth album and it was recorded in their Summa studio in Stockholm.

Swedish trio Tape was set up in 2000 by brothers Andreas and Johan Berthling with Tomas Hallonsten. Taking cues both from pop, experimentalism, and minimalism their sound has become recognized internationally and is clearly something of its own. Their first album Opera was released on the Häpna imprint (which Johan is a co-owner of) in 2002. Working intuitive, all by themselves, they created mini symphonies out of electronic sounds paired with a stunning melodic lyricism. With an array of electronic and acoustic instruments at hand they recorded at a small stone barn on the island of Öland, east of Sweden. 2003 saw the release of Milieu, recorded at the very same barn. These recordings had a more arranged feeling and a clear pop sensibility in some parts. In 2005 they went to Cologne to have Marcus Schmickler produce and record their third album Rideau. This was done in his Piethopraxis studio in Cologne and his involvement left traces; an almost architectonical approach was taken and some of the intimacy that characterized the first two albums were replaced by a harder edge.

In 2006 they collaborated with Japanese duo Tenniscoats on their album Tan-Tan Therapy (Häpna 2007). The same year they recorded in Tokyo with Japanese quartet Minamo, which resulted in the record Birds of a feather (HEADZ 2007).

In the years, their touring has taken them to places like Japan, Taiwan, USA and most parts of Europe.

THANK YOU – Terrible Two

LP/CD Thrill Jockey THRILL198

Vertrieb: Rough Trade

Streetdate: April 22

http://www.thrilljockey.com/press/promo.html?id=102497

Thrill Jockey is very excited to introduce you to Terrible Two, the brand new album from Baltimore’s THANK YOU. The album recording was engineered by Baltimore’s beloved

J. Robbins (Yeasayer, Mary Timony, Jets to Brazil) at his studio and was produced and mixed by Chris Coady (Yeah Yeah Yeahs, Celebration, TV on the Radio) at his studio in New York City. Thank You is an athletic rhythm/action unit, made up of Jeffrey McGrath, Michael Bouyoucas, and Elke Wardlaw. They are three free individuals, subsumed into a collective form that spits out dank, skittering tracks filled with light and dark. The band has been building up a reputation via their live show, which has left audience members joyful, overwhelmed, and ready to spread the word. A seeming telepathy occurs onstage. The

band enters into musical dervishes, a union, a breathless chaos that results in one hell of a Saturday night and what seems like a musical fight.

Not to worry, though. The members of Thank You are longtime friends and musical collaborators, working hard to bring to life their wholly original compositions. Musical ideas are introduced and have conversations with one another, each track filled with new articulation and insight. The basics of drums, organ, and guitar build the foundation, but are augmented by whistles, cowbell, hobo harmonica, snappy loops, car horns, and whatever

else might be at hand.

With the new album, building on the template they have created, under the otherworldly guidance of producer Chris Coady, the band has utilized live staples and new compositions to create a fully realized portrait. They sing, they dance, they go far away and come back. The listener taps their toes, nods their head, and smiles, welcomed into their glorious song.

It is safe to say that beat-diggers and electronic artists will have a rich resource in the recorded output of the band, each track having the potential to be chopped and screwed, looped and loped into new soundtracks and sample beds. Don’t wait for that to happen,
though. Listen to Thank You and listen to the future now.

SALES POINTS

Thank You hail from the rich musical community of Baltimore where they have played with the likes of Beach House, Dan Deacon, Daniel Higgs, Celebration, WZT Hearts, and Ponytail

Michael was a member of the Baltimore band More Dogs who released an album on Monitor Records

The album was engineered by J. Robbins (Yeasayer, Mary Timony, Jets to Brazil) in Baltimore and was produced and mixed by Chris Coady (TV on the Radio, Yeah Yeah Yeahs, Celebration) in New York City

Terrible Two is a limited vinyl-only release and includes a coupon for free MP3 download of all tracks

Artwork done by Peter Quinn of Creative Capitalism

“Thank You’s music is a moleculer dream. Like the teacup ride at the fair. A sound that connects the cycles within to everything. Threading the inside with the outside.”
– Chris Coady, Producer

“Thank You are a musical singularity. They make me feel like the word “band” can still take you somewhere cool and exciting that you couldn’t have expected to go. They are also sharp dressers, vivacious companions, and gracious guests” – J. Robbins, Engineer

THE HAFLER TRIO – Dislocation

CD Korm Plastics paragraph 23, subsection 81

http://www.kormplastics.nl

It has been a long wait, a very long wait, but here is, at long last, ‘Dislocation’ by The Hafler Trio.

“Travel! it’s the drug of the common man! why, it keeps the wheels of industry flowing to make sure that he has a home to come to, earned and paid for by his labours! why don’t you, the rich, privileged, indulge in a journey that (trust me) money can’t buy! and send a postcard to your friends! X marks the spot!”

Originally released by Staalplaat as a cassette in 1986 then as a CD in 1990. Revised now, with the proper package.

TUPOLEV – Memories Of Björn Bolssen
LP/CD Valeot 002
http://www.valeot.com
http://www.myspace.com/tupolev

tupolev are from vienna, austria. they released an ep on the german cdr/netlabel 12rec in 2005 and “memories of björn bolssen” is their first full-length album.

after starting out on folk and postrock influences, on “memories of björn bolssen”, tupolev play instrumental songs influenced by classical music, experimental music and jazz, with glimples of their early pop influences popping up from time to time – sometimes difficult but persistently beautiful.

they are currently working on songs for their second album and play concerts in central europe, so far including live shows in austria, germany, italy and slovenia. in april, they will tour austria and italy to present their new album, autumn will see a larger european tour.

members of tupolev are involved in various other projects and bands, including port-royal, slon, kes, primordial undermind (strange attractors, emperor jones) and liger (beatismurder).

current line-up
peter holy: piano
alexandr vatagin: bass, cello
lukas scholler: electronics

david schweighart: drums

V.A. – Little Things

CD Flau FLAU04

http://www.flau.jp

Everyday, there are little things happen around us that charm our lives. And today, we are going to charm your life with “Little Things”, the first cd compilation by flau.

Beautifully themed as tiny homemade music made of breathtaking acoustics sounds, “Little Things” showcases works by brilliant local and foreign artists of new generation around the world. With the warm melodies that blossoming from the fresh sounds of many live musical instruments like guitars, pianos, music boxes, trumpet, glockenspiels and violins, this handmade music that uses these ordinary material and structure becomes miraculous here.

“Little Things” ensembles most previous unreleased gems that portray the vivid moments of spring, ranging from innovative field-recordings (Jasper Leyland and Dale Berning), old style singer-songwriting (Marla Hansen and Rachael Dadd) to cutting edge electronics (Cokiyu and Radicalfashion), stunning improvisation (Kira Kira, F.S.Blumm and Lori Scacco) and gorgeous folktronica (The Boats, Part Timer and Patten). This compilation featured great artist Hood and Hirono Nishiyama (aka Gutevolk, she is back is first new song in 7 years!). All music-styles becomes equivalent through this compilation.

This exquisitely compiled album also features the enhanced video “Opened”, which is a collaboration work by aus and Iris Piers. “Little Things” is about to fascinate you, as much as other little things that have enriched your life. And we say, it is these little things in life, that count.

Tracklisting:

01 Jasper Leyland – Worth Ash
02 Rachael Dadd – Happiness
03 Hood – This Year’s First Storm
04 patten – Memory Pictures

05 Hirono Nishiyama – World’s End Fanfare
06 Ethan Rose – Relations
07 PoPoyans – Shukujitsu
08 Part Timer – Only Natural
09 F.S.Blumm meets Luca Fadda – Marcel & Maura
10 Pan Am Scan – Rosa
11 Radicalfashion – Happy End
12 Marla Hansen – Shuffle Your Feet
13 cokiyu – Round in Fog
14 Kira Kira – Happahrólfur Salísú
15 The Boats – There Are Tunnels Where We Live
16 Lori Scacco – The Poles
17 Dale Berning – Clicking

18 aus / Iris Piers – Opened (video)

V.A. – Recycling Records presents: The Best Of Polish Smooth Jazz… Ever!

CD Recycling Records rr005

http://www.recyclingrecords.com

Style: plunderphonics/experimental/noise/ambient/breakcore/bastard-pop/digital hardcore/god knows what else…

Love it or hate it! The finest selection of polish music now on one album. As usual in case of “The best of…” compilations everyone can find something to suit his or her taste. What we have here is 20 top polish hits performed by 20 artists. They prefer to stay anonymous to keep you focused on these great tracks that are presented in modern versions to reveal their hidden beauty. They sometimes differ a lot from original versions what for many conservative listeners may come as a shock but it’s still an essential collection for every music lover.

Now a little bit more serious… 20 anonymous polish artist smashes 20 Polish top hits transforming pop s**t into modern avantgarde music. The idea of plunderphonics is here expanded from just messing with bits and pieces of original tracks to creating some good music from unpleasant pop sounds. So except mashups you get some breakcore, ambient, digital hardcore, noise and many other unclassified forms. Your mom won’t like it.

“(…) There hasn’t been much lately in electronic music that has really made me stand at attention until this release peaked my interest in a huge way.

The entire album plays on a downbeat mood.  I feel like much more time and effort was spent on artistic value within the album rather than trying to make an album that people want to dance to. Thus, a very intelligent album was created in “The Best of Polish Smooth JazzŠ Ever!”  I found myself becoming extremely relaxed while listening to the tracks and didn’t feel overwhelmed with a multitude of sampling complexity. Though I’m sure much of what they’ve done is complex, it never feels like you need to rack your brain for answers. Most of the songs start off vamping on a single note or interval that resonates throughout the entire song while subtle melodies play in the background accompanied by clever drum fills. The complexity of the album is in what is sampled rather than the album’s actual sound. Recycling Records actually deconstructs songs such as a pop-rock ballad and from those deconstructed files, he creates the ambient sounds that you hear on the record. The mood of the album is also extremely unique to any electronic album I’ve ever given my attention to. Though other artists such as Bonobo or Amon Tobin have a lot of slow-paced songs of their own, especially the former of the two, neither of them pay as much attention to the ambient noise like Recycling Records does.

If you’re into electronic music, “The Best of Polish Smooth JazzŠ Ever!”  is definitely a must-have in your music collection. It would even be interesting for a pop-rock fan to get their hands on to try and figure out what songs have been deconstructed. Recycling Records truly has done something entirely unique with “The Best of Polish Smooth JazzŠ Ever!” and for once the listeners are able to feel the difference rather than having to listen intently for it. (…)”

John Berry, www.musicemissions.com

YASUSHI YOSHIDA – Little Grace

CD Noble CXCA-1228

Streetdate: April 25

http://www.noble-label.net/catalog/?en&code=CXCA-1228

After 1 year and 9 months of waiting, Noble, the label that brings “Music For Everyday Life” is delighted to announce the new album “Little Grace” by Yasushi Yoshida.

Yoshida’s first album “Secret Figure” celebrated musical impressionism of the new generation by masterly portraying the delicate sensations roused in everyday life through infinite layers of melodic instruments such as the piano, guitar and violin, mixed with the electronic sounds of electronica. 1 year and 9 months since then, the artist, now soaring to new heights, has proudly completed his second album, “Little Grace”.

The most notable difference from the previous work is the dynamic use of live instruments. Here, the electronic sounds heard in the first album have hidden behind the shadows to be replaced by live drums, piano, guitar, violin, cello, bass, saxophone, clarinets, and even saws. The album is a parade of songs compiled through a dramatic orchestration of these live instruments. Yoshida brings meaning to every little sound produced by his trusted musicians, there is meaning in every break of music, every page turned on the musical score, every piano pedal stepped on, every breath of the horn, and every jump of the bow on a string instrument to create delicate and yet spectacular instrumental music.

Based on an ensemble of live instruments, Yasushi Yoshida has expanded his expression by capturing elements such as “chaos”, “dynamism”, and “festivity” that could not be seen in his previous album. This album that starts in a melancholic mood which gradually turns into an overwhelming feeling of euphoria is an elegant, cinematic, and ever so beautiful storybook of sound without images or words that allows each listener to portray their own scenery in their hearts however they wish.

Biography:

Born November 1978 in Osaka
Writes, produces and performs music focusing on piano and guitar arrangements.
Not content with working solely within the music scene, Yasushi Yoshida has contributed material to areas as diverse as theatre and visual arts. Collaborations include Yoko Higashino’s solo dance performance [ERROR CORD///pcsh404slhq] and Oi-SCALE theatre company’s “Michigaere Sekai”.

On the live end, he has  performed with many established local as well as international artists such as Nagisa Nite, Ramo Nakajima, kicell, Piana, Pan American, Her Space Holiday and Arab Strap.

ZERFU DEMISSIE – Akotet

CD Terp Records Terp AS-12

http://www.terprecords.nl

AKOTET (Praise)

11 songs of the Begena, the 10 string “Harp of David”, which dates back thousands of years, but is still played in Ethiopia. A mesmerizing buzzing sound which is dark, heavy and serious,

but also light, fragile and spiritual. Rooted in the Orthodox Christian tradition it is about meditation, concentration and prayer and mainly listened to in the fasting periods, of which there are many in Ethiopia.

Zerfu Demissie, from Addis Abeba, is the son of Demissie Desta, the court-player of Haile

Selassie and called “Mr. Begena”. Zerfu keeps a long family tradition going. His grandmother
was also a well known player.

Every begena sounds unique and Zerfu is definitely a very original player. The lyrics are fascinating, sometimes hundreds of years old and occasionally very contemporary. At times biblical, at other times tapped from different sources, even social comments. But all

including this typical Ethiopian phenomenon known as “Wax’n’Gold”, the subtle poetry with
double meaning, which is deciphered as an abstract art form.

The 24 page booklet has photos, lyrics, a history of the begena and an interview with Zerfu.

Recorded in August 2006, in Zerfu’s house in Ethiopia, by Jeroen Visser.

Thanks for reading & best wishes

Dense Promotion
http://www.dense.de

http://www.myspace.com/densepr