Ř - Konstellaatio 2LP/CD Sähkö
@C - Ab Ovo CD Crónica
ATOM TM - Ich bin meine Maschine 12" raster-noton
BEATA HLAVENKOVÁ - Theodoros LP Minority
COOLY G - Hold Me 12" Hyperdub
DAVID BEREZAN - Allusions sonores CD empreintes DIGITALes
DIRTY PURPLE TURTLE - Medicine & Madness CD Spezialmaterial
EVOL - Something Inflatable LP Alku
FAMILY FODDER - Monkey Banana Kitchen LP/CD Staubgold
FELIX KUBIN mit MITCH & MITCH - Bakterien & Batterien LP/CD Lado ABC/Gagarin
JASON VAN GULICK - Entelechy CD Idiosyncratics
JÓHANN JÓHANNSSON - Prisoners OST LP NTOV
JOJO HIROSHIGE/PAAL NILSSEN-LOVE/PIKA/LASSE MARHAUG - Osaka Fortune LP Premier Sang
KOUHEI MATSUNAGA - Drawings Book+7" Fang Bomb
LUBOMYR MELNYK - Windmills CD Hinterzimmer
LUMINANCE RATIO - Reverie LP Bocian
MARSEN JULES - Beautyfear CD Oktaf
MAX EILBACHER - Red Anxiety Tracers LP Spectrum Spools
MONNO - Cheval Ouvert CD Idiosyncratics
PEDER MANNERFELT - Lines Describing Circles LP Digitalis
POEMSS - Poemss 2LP/CD Planet Mu
REINALDO LADDAGA / V.A. - Things that a Mutant needs to Know... Book+2CD Unsounds
SISTER IODINE - Blame LP Premier Sang
Ř - Konstellaatio
2LP/CD Sähkö 028
Release date: March 3
I have been here before
To listen I need a filter, I need to feel wrapped in a creasing veil of memory. I cannot just be there: I must feel that I have been there some other time: elsewhere, then. I need to know that I was caught listening while intent on something else, something that lured me into unexpected interferences: a ripple on a background of history with no apparent motive, a sequence of rhythms stripped off an emotional tapestry, a perceptual gasp.
I do not like to explain these sounds, or understand them: in the same manner as Mika never told me what he wants to do with them and through them. Through them I can think, and with them I can be - and write, absorbed in his honed repertoire of movements into sounds, fixed on chasing his profound prey.
I have forgotten names or words for the sounds I hear. Or maybe I never even learned them. I do not know their source, their references, and I do not want to. This is another way into listening. The references might come from another medium. From these pictures, these titles: disturbances that infect my hearing.
Words and sounds and images arrange themselves against any notion of centre. There is no centre here that dictates form and symmetry: this is about the core, something more dense and subtle, connected to beginning and indeed connected to care. And this core is shaped as a constellation: the concentrated act of making sound opens up to the dissipation of making sound happen, in listening, yet all its elements are held together. No prescribing narrative or anecdotes: a repertoire of aural gestures prompts my hearing and allows it to err in and out of its permeable boundaries into words.
I no longer know which genre this music belongs to
We had Kilo a few months ago, Magnetite earlier on. The former revelled in rhythm, the latter in texture. But this is Sähkö, home to Mika's earlier visionary outputs, home of Ř and of openings, of crossing off borders between techno and secret private spaces, between rhythm and mental haloes of rhythm. Konstellaatio is not just rhythm, not just texture, it has no canonical function or meaning, it makes new meaning as I hear its sounds take form. There is tension, because Konstellaatio hints at forms that are extremely codified and yet are never quite there. And on the flipside of these highly codified forms there is an exhausted and abandoned physicality.
These sounds are so present that they resist the assault of interpretation.
The sparse rhythms at the beginning trick you inside an intro. They breathe in wheezes of unrest. After a few minutes you may expect a voice, an event or narrative to break through: a ghost story perhaps, so uncanny was the unsteady pace that swept clear the space of your hearing. Instead you find yourself alone: not a voice accompanies you, not a sense of recognition reassures you. You can only surrender and become shell. Clear-cut beats reach far out, envisaging the possibility of elsewhere. These sounds frame this sense of openness; the clarity of these sounds secures the uncertainty of the place.
Gradually these sounds become less enclosed, humming and gurgling from a distance as ominous entities whose origin you cannot imagine, name, or know. You get absorbed in this metallic buzzing, wooden chiming, crystal-clear swarming. Is night creeping on, closing in?
And then it strikes: a heart-rending lament, alone and repetitive, rich with presence as if to mark the un-eventfulness around. A drone that has lost any claim for solemnity and can only sound a forlorn presence. From memory it s not linear, it happens as it is. Nine and some more minutes, nine and some more long and plaintive minutes charged with unresolved expectation.
Metallic swishes against cavernous reverbs are prolonged in a world where stillness is not calm. When all is over, the sounds around emerge more rounded. You seem to be holding a key into secret aural phenomena, normally barely audible. It seems as if you realised for the first time what a drone sounds like. You might even believe you heard a place. Or is this another type of aural presence, to be grasped in a different manner and time, elsewhere?
And I say elsewhere and I no longer know where
Sometimes listening to Konstellaatio is like witnessing to splinters and drops off a much larger flow, sumptuous relics of a vision that is never fully manifested.
Not having anything to share with notions of conclusion and finitude, these sounds reach out to perceptual layers hidden in the tangled profundity of senses. To listen is an endless game of hiding and revealing: what we choose to do, to step into and out of, starts of wonder into disjointed recognition until I no longer know what reaches out into my hearing and what reaches out from my hearing, and I become a generator of disturbances myself rather than just a listener, at once sounding and echoing the tremor of something present that arrived from afar.
As I ask myself which word of set of words might best respond to this convergence of outer and inner sounds, I can only resort to fragments, eavesdrop on my memory, elicit from it half-formed testimonies of older versions of myself and of these sounds.
I have been here before. Before though, I no longer know when it is
For some time now I've been listening to Konstellaatio. Listening and inevitably also recalling and reading and looking and sensing and imagining. Alongside the audio tracks on a CD, I was sent a photocopy of the cover artwork, and I was told that Mika chose it to be like this. So I look at this picture of a young boy who looks at me out of the core of the picture, covering almost entirely a female figure standing in the back: I can only see the upper part of her face, her eyes darkened, her right arm bent in a triangle on the left. Maybe the young boy is a mirror as he stands and stares, in-between the past of the other presence in the background, and the projected present of whoever will look at him and into him. On the opposite side of the CD cover I see a galaxy, and I listen to these sounds: such a combination of elements does not exude totality but the distilled quivering uneven pace of a life, and the peculiar nervous flick that drives us when we create memories. This artwork tells the legend of an instant in its precariousness, not reducible to anything else yet embroiled in its story, as it steps out of itself and expires into life; it oozes out of a vast reservoir of memory signals, into which I can just swim, and be.
In similar fashion I read the titles on the cover, written in a language unfamiliar to me, and begin to imagine. Otava, warm bass and pulses, maybe I hear a voice in it, a void? Is it an octave or shall I think instead of the sound in this word, otava, as it rhymes with lava, a dense slow constant flow of inner burning? Metsan sydan takes shape along the time of a ritualistic wait, the coiling and recoiling of the hissing sound of s eaten by the m and n makes me think of the coils on a shell and there I am again, listening or pretending to be listening or rehearsing listening through reading a word and its letters. It is a curved name and so it lifts and rebounds, I even trace a faint aural presence in tsan, tsoun, tsound, sydan.
Life is rife with forgetting and sound is ripe with todays
Mika interviewed by The Quietus, 23 January 2013: "For me music is always connected to emotions and that's what matters to me. When I listen to music what is important is what is evoked in me, what I feel." And in response to a question about music software: "First of all you have to work with the screen, then the music, and the work is visualised that way. I don't like this idea that the work is visualised through the symbols on the screen & you are forced to deal with a certain visualisation which you don't necessarily even like at all. That would be difficult for me, because I have totally something else in my mind than that image." That's it, and this refusal of flatness toward a different way of seeing and sensing sound entails a necessity for auras, a patina of time over sounds that masks and unmasks memories partially guessed, partially unheard. This music seems to be constantly on the edge of its genesis or its destruction. Consider the picture of youth and the picture of a galaxy, the making of form in these sounds when they are just about to emerge out of - or to be eaten up again by - the noisy continuum of matter. Every sound in front of the past and in front of the infinite is arranged according to various degrees of remoteness - a constellation of fragments is brought to the surface of every today: it feels closer the more I sense its otherness.
All these meanderings in and around Konstellaatio are a way of reflecting on the forming and reforming of identity. The old picture of a young boy on the cover - Mika's brother Atte, I learn later on - the strangely familiar echoes of forms. Is identity made by an awareness of a number of moments of "having been there"? Konstellaatio seems to point at the echoes of absence resounding from the past, tolling on today's sense of identity. In 16th-century English, the word identity was spelled as "idemptitie": any assumed identity, defined through its assumed past, contains an "empty" - an emptiness which is also a reverberating space for the echoes of other frequencies and for silences. I hear the silences around Mika's sounds, the silences in these pictures of a child, before sound began for him and yet it did resound, and of a galaxy, beyond his sounds and yet with them, parasitical formations proliferating in my listening space and slowly eroding it - these pictures and silences reveal themselves to be, somehow, a series of hush-hush's - happening between my hearing and me, obliterating sounds, smothering them under a weight of otherness that allows me to really hear them, in otherness and in memory, from memory - because too often sounds, when they confine me within bounds where I can only hear, far from reinforcing each other and representing any openings on life, become membranes separating me from it.
To which I can only add: no use for deciphering these sounds, no use for explanation or analogy: Konstellaatio is testimony to the forming of identity in and around visions, memories, silences, erasures, life and yes, also, with, sounds.
London December 2013
@C - Ab OVO
CD Crónica Electronica cronica085
Composed by Carvalhais & Tudela, May 2012 to July 2013 from the soundtrack to OVO.
The original soundtrack to OVO, a play by the Teatro de Marionetas do Porto, was composed by Tudela & Carvalhais from November 2011 to January 2012.
"100" features Tam (guitar), Shirley Resende (accordion) & Sara Henriques (voice).
The man has fallen. The skull opens. Time expands.
What is left of the the memory fades away on the floor. He has just lost the notion of future, only the past and his automatisms remain.
He was an actor, without the basis of theatre - a puppeteer?
His life is nothing more than the ruins of memory, and it is fragmented, divided in 4 characters. In the moments when everything is constructed and reconstructed as easily, the borders between worlds become even more permeable. The space of the stage is the inner space inhabited by the 4 characters coming from the unconscious, but captured in the world of stage acting. (from the notes to OVO)
@c's Ab OVO stems from their work for the soundtrack of OVO, a play by the puppet theater of Porto, developed in late 2011 and early 2012. Starting from an original idea by Eric de Sarria, OVO was created cooperatively during a series of rehearsals that involved all the participants in the play - actors, puppeteers, musicians and other creators - and premiered on February 10, 2012 at the São Bento da Vitória Monastery. The musical outcome of this process were 19 recorded compositions that constituted a majority of the play's sound.
Ab OVO results from the realization that a music so tailored to a particular context could not be easily detached from it. When considering how to publish this work and what it would become without the stage, actors, puppets and dramaturgy, Pedro Tudela and Miguel Carvalhais felt the need to rework all the pieces, opting for revisiting parts of the original soundtrack and for composing a series of six new pieces that are now presented in this CD.
The end result, although remaining close to the play's soundtrack, is an album that chiefly preserves traces of memories from the play and expands its creation process, thus rereading, reinterpreting and rediscovering OVO.
OVO was created by Edgard Fernandes, Eric de Sarria, Isabel Barros, Rui Queiroz de Matos, Sara Henriques and Shirley Resende, with puppets and scenic objects by Rui Pedro Rodrigues and Filipe Garcia, video by Albert Coma and costumes by Eugenia Piemontese. Photos by Joăo Tuna © Tuna TNSJ.
The CD edition of Ab OVO was possible due to the support of Teatro Nacional de Săo Joăo and the Teatro de Marionetas do Porto.
ATOM TM - Ich bin meine Maschine
12" raster-noton R-N 146
Release date: January 2014
ich bin meine maschine is a spiritual track
ich bin meine maschine is a musical track
ich bin meine maschine is a scientific track
to underline this tryptic statement (and to demonstrate the diversity) of one of atom tm's compositions that appeared on his 2013 HD album, raster-noton now releases a vinyl ep featuring remixes by boys noize, function and atom tm himself. "ich bin meine maschine", in an elaborate manner, illustrates uwe schmidt's main musical concern - the exploration of electronics in pop music. inspired by a statement of the cybernetician heinz von foerster, atom tm constructed/generated a message that is playing around with a widely-cited kraftwerk quotation, turning "ich bin eine maschine" into "ich bin meine maschine" (i am my machine). besides the album version of "ich bin meine machine," the ep features some dominantly techno influenced versions that perfectly connect the pop attitude of HD with dancefloor functionality. the boys noize remix shows off alexander ridha's deft skills for translating atom tm's futuristic pop into his own rough and driving electronic language. on the other hand, atom tm's "linear remix" breaks down the original structure of the song and turns it into a reduced and much straighter, forward looking composition. function - one of techno's true underground heroes - provides a remix that is breathing the air of solid and hypnotic club music, in which just the essential elements are streamlined and condensed into perfection.
all 3 remixers adapt the track to their particular universe. by doing so, they prepare the 12" vinyl for its final destination - the club.
01. ich bin meine maschine (boys noize remix) 6:50
02. ich bin meine maschine (linear remix) 6:57
03. ich bin meine maschine (function remix) 7:43
04. ich bin meine maschine (album version) 6:33
BEATA HLAVENKOVÁ - Theodoros
LP Minority Records MIN31
The pianist and composer Beata Hlavenková, one of the leading personalities of Czech jazz and alternative music scene, releases her new album Theodoros, consisting of twelve of her own piano compositions named after the months of the year: the author is also the only interpreter. The album is released more than four years after the release of Beata's highly acclaimed debut album Joy For Joel on Animal Music.
Beata Hlavenková on the concept of Theodoros: "My first album is named Joy For Joel after my first-born son Mathias Joel - amazing guests, big sound and arrangements, music influenced by modern jazz. After the birth of my second son Theodor Eli I had the idea in my head say that my next album will be somehow linked to him. The Greek name Theodoros means "God's gift", like Mathias in Hebrew. When I started to compose I realised that God's gift is life to me. It is formed of years, months, days. It was thus absolutely natural that compositions will be named after the calendar months. Musical circumstances resulting in this album were however different. They are based on the fascination from a song and its simplicity. The opposite pole to the first musical world. Theodoros draws from both and absorbs both these paths through my musical perception."
Beata Hlavenková graduated from Janáèek's Conservatoire in Ostrava (major in composition) and continued her studies in the USA, at the University of Massachusetts (major in composition, jazz composition and music arrangement). As a long-time co-player with Lenka Dusilová, Beata gradually transformed herself into her main music partner. They often perform as a duo and they were together at the birth of the outstanding project Baromantika; they are also the members of Eternal Seekers. Beata Hlavenková performed in many European as well as overseas countries (Poland, Slovakia, Turkey, Germany, Norway, Switzerland, France, Canada, USA, Costa Rica) and has performed at renowned music festivals (Montreux Jazz Festival, IAJE Conference Toronto, Jazz Festival Regensburg, Afyon Jazz Festival, JazzFest Brno, etc.).
COOLY G - Hold Me
12" Hyperdub HDB078
Release date: January 27
After her much lauded debut album Playin Me, Cooly G returns with an EP that switches from song writing mode to create extended, spaced out and rhythmic house tracks built for the dancefloor.
"Hold Me" starts with minor note stabs and Cooly's vocal "hold me" over a punchy bassline. The rhythm slowly builds as the vocal becomes more dubbed out and the atmosphere more smokey. "Oi Dirty" made with DVA is a piece of wonky, rhythmically lopsided house with a cavernous elasticized bassline and lots of micro detail destabilising the track then bringing it back, pitching drums and mini breakdowns.
"Molly" is a slow burning 4/4 house track built around a static grid that gradually builds up, getting stiffer and more intense, with wobbly acid-like synth lines and hissing static stabs, underpinned by a one note bass kick. It's a master class in creating tension with slight of hand production moves.
DAVID BEREZAN - Allusions sonores
CD empreintes DIGITALes IMED 13122
For his second empreintes DIGITALes release, David Berezan brings us in an engaging journey! The trip starts within the seawater of the opening piece, Buoy. With his fine blend of carefully processed organic sounds, Buoy suggests an allegory where waves of sound create a gentle but yet suspenseful composition. The journey will also take the listener in the heart of Alberta's Badlands (Alberta being the native province of the Canadian-born composer) and then leads us in Asia. Thumbs, Galungan, and Nijo each explore in its own way a part of Asian culture in a dialogue with the electroacoustic musical possibilities. A vivacious record filled with evocative "sound allusions."
* 2nd solo disc by Canadian composer David Berezan living in the United Kingdom.
* 5 acousmatic works from 2008 to 2011 and mastered in 2013.
* This release comes out on the label empreintes DIGITALes based in Montréal. Established 1990, this label is widely considered as the world leader in electroacoustics/acousmatics.
"Buoy" explores the soundworlds and environments of sea buoys, many of which have bells, gongs or whistles that sound in response to the motion of the sea. The diverse characteristics of buoys, used to aid sea navigation as well as scientific research of maritime weather, ecology and oceanography, inform the sonic language and grammar developed in the piece. Surges of materials phrased according to ocean wave action and underlying pulsating and droning pitched materials (alluding to the transmitted signals from buoys) create strong thematic threads through the work and provide a framework of navigation through real-world glimpses (waves and bells) and contrasting abstract soundworlds.
"Thumbs" uses a single plucked sound from a Balinese thumb piano as its primary sound source, subjected to transformations of pitch and grain, and explored in multi-channel space. I aimed to reduce the variety of sound-types and materials used in the work as much as possible, while still creating an engaging and evolving soundworld. A number of spoken expressions that include "thumb" came to mind during the composition of the piece (rule-of-thumb, all-thumbs, thumbing through, thumbs-up / down, under thumb). These acted, at some level, as informers upon the work.
The Badlands of southern Alberta (Canada) comprise a vast and carved prairie landscape containing dinosaur fossils, intimate parks, indigenous peoples history and very unique climate. In the summer of 2007 I collected an array of sound materials in the region that allowed me to compose a work that directly references an area of the world that I will always think of as very near to "home." Long summer days, deep river valleys surrounded by grasslands that seem to stretch out forever, mountains on the horizon and warm evenings, camping by firelight and long shadows. In this respect, there is a sense of nostalgia in "Badlands," but only to the point where my investigation of sound creates more otherworldly and densely constructed soundworlds.
"Galungan" uses sounds recorded in and around Ubud (Bali, Indonesia). Several visits I have made there since the early 1990s have acquainted me with a unique traditional culture (marked by daily ceremony and ritual as a part of everyday life) and a beautiful natural environment. Both of these also present a rich sonic tapestry: sounds from the rice paddies, sounds from the gamelan and sounds that weave their way through all aspects of life in the area. Many of the sounds used in the piece were recorded during and around the Galungan religious festival (featuring many impromptu musical events and gatherings). The work gravitates to the rice paddies and the ceremonies, and to day and night. These separated aspects are evident in the structure of the work, but are also united in the materials developed: the pulse of the natural night sounds and the rhythm of the ceremonies, and the resonances of the music, instruments and rituals.
Nightingale floors (uguisubari) are wooden floors found in several temples and palaces in Japan (including Nijo Castle in Kyoto) that are designed to make a squeaking or chirping sound when walked upon. This functions as a sort of security system, making it difficult for intruders to enter and pass through corridors undetected. For a composer that explores, collects and "uncovers" sounds as part of the creative process, this is a compelling concept both literally (sonically) and metaphorically. Developing further the idea that underneath and within the floorboards reside nightingales, "Nijo" delves deeper into, and within, the floorboards, revealing not only birds but many voices and soundworlds of traditional and contemporary Japan.
DIRTY PURPLE TURTLE - Medicine & Madness
CD Spezialmaterial Records SM044CD025
Release date: January 31
Electronics, drums, visuals. The jam is the plan! As live, direct and lively as possible. That's how electronic music is supposed to be for the threesome Dirty Purple Turle. In its nature much closer to rock than electro, they say. In their live performances they create much thrill visually: On three screens projections accompany the sometimes winsome and catchy, sometimes dark and inaccessable songs. At times they work as a lightshow, at others the music takes a backseat. For such a precise and dynamic realisation to work, it takes the three men's gift of being true electro McGyvers. They always have the perfect do-it-yourself solution at hand. Oh, and the name. Well, it's just good on Google.
Harnessing some pretty rough and raw live energy is the key to DPT's sound, refusing as they do to allow overdubs, along with a completely uncompromising approach to song structure and making no concessions to what they or anyone else might consider fashionable.
Beginning with the unusually catchy "Count the Clock" - a pulsating motorik affair with offbeat electronic syncopations and dreamy synths - we quickly arrive at "Hiritoto Shikitsch" where a whole welter of other potential references and influences come to mind, with none of them coming close to capturing just what is going on here. At times we could be listening to some unholy mash of Add N to X, Cabaret Voltaire and Holy Fuck, with elements of Maurice Fulton's Syclops project thrown in for good measure. Super tight drums keep a handle on barely-contained synth overload & there is a lightness of touch, hard (and live, remember?!) internal edits, a broad palette of sounds being employed using a relatively constrained set of instruments.
The set continues with "Aber" - a broody chugging headnodder, all half-speed beats and crushing staccato doom riffs pinning the thing to the floor, before it unleashes a double, quadruple and octuple speed black metal-inflected live harmonic acid emulation. "God's Left Eye" seems to offer repose with soft pads and an almost Tortoise-like feel; another processed vocal waxes out a torrent of imagery leading the track into refined territory, opening further into thick layers of droning melodic guitar and feedback squall. "Sector G und D" sounds a note of genuine alarm, a grinding menace not entirely alien to Maurizio Bianchi's strange industrial universe - where a surprisingly soulful vocal carries a thread of mild sanity to hang onto amid the nauseating heat.
"I am the Brute" treads a fine line, one seeming bright and playful but permanently on the edge of major malfunction - a lost chorus from Beefheart set to a sort of skipalong live Atom!" jam, but halfway through - *suddenly* - we are in an 8-bit Bad Seeds disaster game with untethered libidinous vocals, perhaps thankfully just on the verge of audibility & who ARE these weirdos? "Henry Who" opens as some sort of unconventional space dub workout, with shimmering harmonics and bubbling delay trails; the synth takes centre stage and kicks off a dialogue with gentle guitar feedback & once again, about halfway in, when we think we have a handle on this, along comes the noxious breath of Satan to drag the melodic remnants into a funky gutter of drastic proportions, fading out to leave only Laibach-styled militaristic percussion ringing heavily in the ears.
FOR FANS OF: NINE INCH NAILS, MINISTRY, ZOMBIE ZOMBIE, ADD N TO X
EVOL - Something Inflatable
LP Alku 129
Red vinyl with purply blue & bluish purple labels in a 140 micron polished finish PVC sleeve.
Play at 33 1/3 RPM.
Written by Stephen Sharp and Roc Jiménez de Cisneros.
Cut by Andreas Kaufelt at Schnittstelle in Frankfurt.
Please note side A plays inside out.
File under: more annoying rave anthems.
Something Inflatable takes the Rotterdam Termination Source classic "Poing" (1992) as a starting point to create a 30 minute long piece of springy percussion, boingy kicks and dyschronometric gabber. This record contains no samples.
Roc Jiménez de Cisneros and Stephen Sharp produce what they call "computer music for hooligans." Their work is an aesthetic exploration of algorithmic composition and a metaphysical deconstruction of rave culture. Their music has been published on record labels like Entr'acte, Mego, Presto!?, fals.ch or their very own ALKU, and their work has been exhibited at numerous festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances display a radical and playful approach to audio synthesis, full of upward spirals, trance inducing patterns and challenging temporal structures, halfway between academia and psychedelia.
Some of their recent installations and hybrid pieces include: "Continuum Expanded" (in Sound Proof 4 3, London, 2011 and Sound Spill, Galerie West, Den Haag, 2012); Tetralemma + Tetrafluoroethane (Graham Foundation for Advanced Studies in the Fine Arts, Chicago, 2011); Rara Avis (Science Museum of Barcelona, CosmoCaixa, 2011); A very short proof of Forester's rigidity result (with Mark Fell, premiered at BIACS, Seville Biennial 2008, Istanbul Biennial 2010, Vienna 2011, and ZKM Media Museum, 2012-2013); Hands in the Air, reach for the Laser (Diapason Gallery, New York, 2010); Mentasmic Score for Wave Field Synthesis System (premiered in Barcelona, June 2012).
FAMILY FODDER - Monkey Banana Kitchen
LP/CD Staubgold 130
Release date: January 31
"Family Fodder exude an exhilarating sense that everything was possible, that there weren't any limits to imagination and humour. The scope of their musical range remains as dizzying and exciting as it once was." (Time Out New York)
Staubgold proudly presents the legendary first album from 1980 by UK underground heroes Family Fodder, for the first time reissued on CD and vinyl. The CD version comes as a lovingly assembled compilation (total running time: 79:52 min !). It features the complete "Monkey Banana Kitchen" LP, the 12" EP "Schizophrenia Party" (1981) and the 7" singles "Film Music" (1981) and "The Big Dig" (1982), all originally released on Fresh Records. Guest musicians include This Heat's Charles Bullen on drums, guitar, vocals, percussion and viola.
The Wire magazine listed "Monkey Banana Kitchen" among their "100 Records That Set The World On Fire (While No One Was Listening)" and wrote: "A loose collection of friends and, more often than not, wanderers, Family Fodder reached their apex (or at least one of them) with Monkey Banana Kitchen. The music took the ferocity of contemporaneous British punk and scaled it way back. They also eschewed the giant pop hook, replacing it with the hoop jumping of songs in three languages, instruments played for only four seconds, harmonic call-and-response motifs and opaque but symbolic political lyrics. Multiple reprises of phrases and fragments result in a much more subtle and effective memory-tickle. I can't count how many instruments finally made it onto the album, though piano (providing much of the rhythm), melodica, sax, synth and cowbell dominate. Their integrated eclecticism is actually layer after thin layer of dub, jazz and New Wave - peering down into this multi-ply music, you detect traces of structural complexity, and the pop that's there blurs. Lesson No 537 from Fodder members: participate only when absolutely necessary - knowing when to pare down makes it easier to transcend."
Family Fodder was originally formed in 1979 by Alig Pearce - with a cast of thousands over three decades. They emerged from the melting-pot of 70s/80s London alongside This Heat, The Flying Lizards, The Pop Group, Slits and many others. The original formula consisted of psychedelic and new wave influences, incisive song-writing, improvisation, experiment and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on-stage, but completed several European tours as well as cherished performances in their native London.
The group released a series of compelling, now collectable singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities", they were best known for indie-chart hits such as "Debbie Harry", "Playing Golf (With My Flesh Crawling)" and "Savoir Faire". More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.
Family Fodder also appear on the infamous Nurse With Wound list. "Their music was generally playful, a hint of dub and reggae mixed with absurd, blissful pop, with synthpunk and sometimes experimental instrumentation. Most of the lyrics were also sung in French, courtesy of original vocalist Dominique Levillain, a combination rumored to be of some significant influence over Stereolab." (Systems of Romance)
FELIX KUBIN mit MITCH & MITCH - Bakterien & Batterien
LP/CD Lado ABC/Gagarin Records LadoA/12/GR2030
Produced by Tobias Levin, Felix Kubin & Mitchiz
In the autumn 2013, the formaldehyd elektronaut Felix Kubin and the incredibly flanging big band Mitch & Mitch meets, mixes and mingles in their studios in Warsaw and Hamburg conducting an electro-acoustic experiment: the production of an avant-garde pop library record. To reach this goal they invited German producer legend Tobias Levin to be their electric conduit. With their faces turned to the dark side of the moon and their hearts charged with the alluring moods of Gesamtkunstwerk, they will descend into the cellar of human fear and entartete Rhythmik, sharpen their lenses and look right into the eye of electric voodoo. Upon completion of the delta phase, documented by the underground (but fully legal) laboratories of Lado ABC and Gagarin Records on stereophonic sound carriers, Felix Kubin and Mitch & Mitch will enter the next phase, called "sonic presentations" or "science's litmus paper." At the turn of 2013 and 2014 this Big Band X-ray music will arrive in some cities of Europe as a 10-person combo, aided by a sophisticated selection of instruments. Apart from the aforementioned material, they will also present special arrangements of previous exploits of both sets.
Influences: BBC radiophonic workshop, Czech and Polish film music, Stockhausen, Stockholm, Stroboscope, KPM library music, Raymond Scott, Daphne Oram, Jerzy Wozniak, Philips Research Labs, Electric Voodoo, Medical Disasters, The Final Flu, EKG machines, X-Rays, Silencer, Reverse Wagner, Mambo Mortale, Sequencer Music, Musique Concréte, Buildings of Concrete, Underwater Dishes, Explosions, Earthquakes, Maximum Capacities, Elevator Muzak, Electric Tootbrushes, Electric Shavers, Electric Chairs, Hairy Animals, Phase Extinction, Hörspiel, Sinister Reverberation, Pluto Solidarnosc...
27.01. DE Berlin, NK
28.01. DE Bielefeld, Bunker Ulmenwall
30.01. DE Cologne, Stadtgarten
31.01. DK Copenhagen, Jazzhouse
01.02. DE Hamburg, MS Stubnitz
JASON VAN GULICK - Entelechy
CD Idiosyncratics idcd008
Anyone who's seen him performing either solo, sharing the bill with Stephen O'Malley (Sunn O)))), Chris Corsano, N.U. Unruh (Einstürzende Neubauten), or along with Carla Bozulich / Evangelista, Y.E.R.M.O. or french based collective DEGA! will confirm: Jason Van Gulick definitely counts among the most inventive and talented drummers in the music scene nowadays.
His dynamite loaded though subtle and masterfully executed performances, mixtures of wild rhythms and abstract soundscapes made him a quite a name in the last years and it was about time for Jason to release his first solo album.
Entelechy combines electroacoustic textures with more musical, "free" drumming passages.
Formerly trained as an architect, Van Gulick puts an important focus on natural resonance and often performs in locations chosen for their acoustic specificities. Therefore, Entelechy has been entirely recorded in resonant spaces such in Brussels as a squat called RTT and young but already legendary underground concert venue HS63.
The album has been mixed by RIPIT and mastered by Frederic Alstadt at Angstrom, Brussels.
Original artwork by our long time partners in crime Gast Bouschet & Nadine Hilbert.
JÓHANN JÓHANNSSON - Prisoners OST
LP NTOV NTOV9
Release date: February 1
JÓHANN JÓHANNSSON TO RELEASE HIS SOUNDTRACK TO THE ACCLAIMED THRILLER "PRISONERS"
February 1st will see the release of Jóhann Jóhannsson's soundtrack to the Alcon Entertainment thriller "Prisoners," a Warner Bros. Pictures' release starring Oscar nominees Hugh Jackman ("Les Misérables") and Jake Gyllenhaal ("Brokeback Mountain"), and directed by Denis Villeneuve ("Incendies"). The album will be released on vinyl through NTOV/Cobraside and has been made available on digital and CD through Watertower Music/Warners.
Jóhannsson had an unconventional approach to the soundtrack. "The score has a two-fold purpose: one is to serve as a kind of lyrical and poetic counterpoint to the horror of the events in the film," Jóhannsson says. "The other purpose is to keep a certain tension and sense of unease. So it's two very contrasting elements. The strings and woodwinds provide the lyricism and beauty while the electronics provide the tension. The keyword throughout the writing was to avoid anything that sounded like thriller music, but to still convey a sense of tension, coupled with these moments of melancholy and delicate beauty."
Jóhannsson scored the music for an orchestra - recorded at London's Air Studios - with large string and woodwind sections but the score also features collaborations with well-known electronic music performers. Thomas Bloch (a collaborator of Radiohead and Daft Punk) played the Cristal Baschet (an instrument similar to a glass harmonica, with huge metallic resonators) and the Ondes Martenot (an early electronic instrument similar to a Theremin). Jóhannsson says: "The sound of these old instruments combined to create an organ-like sound - but with a very fragile, glassy texture. It allowed me to do very delicate things without being too sentimental"
Fellow Icelander Hildur Gudnadottir and Norwegian composer Erik Skodvin (Deaf Center, Svarte Greiner) provided some of the dark, menacing low frequency drones that permiate the music.
Jóhannsson: "For me, orchestration is not only a process of writing a score for an orchestra, but also to find space for each instrument and each orchestral element within a greater textural whole. The orchestra is only 60% of the score, the rest is about creating and manipulating sound to produce a texture which still feels very organic, even though it's completely studio-created - although all the sources are ultimately acoustic in origin. I never use sound which has not existed in a room at some point - for me, a sound has to exist as a wave in a room or other space before you can use it."
"My ideal is music where the electronic and the acoustic sounds blend seamlessly," says Jóhannsson, who - in addition to releasing albums on labels such as Touch and 4AD - has scored more than a dozen movies. "I think the score - much like, but maybe even more than my previous work - combines my twin obsessions, which is writing for orchestra and creating electronic music." Jóhann's influences include Steve Reich, Michael Nyman, The Hafler Trio, Coil, Alvin Lucier, Swans, Arvo Part, Ennio Morricone, Morton Feldman, Gesualdo and Bernard Herrmann.
Led by Oscar® nominees Hugh Jackman ("Les Misérables") and Jake Gyllenhaal ("Brokeback Mountain"), the dramatic thriller "Prisoners" features an all-star cast, including Oscar® nominee Viola Davis ("The Help," "Doubt"), Golden Globe Award nominee Maria Bello ("A History of Violence," "The Cooler") and Oscar® nominee Terrence Howard ("Hustle & Flow"), with Academy Award® winner Melissa Leo ("The Fighter") and Paul Dano.
JOJO HIROSHIGE / PAAL NILSSEN-LOVE / PIKA / LASSE MARHAUG - Osaka Fortune
LP Premier Sang 007
400 copies - 350g offset color cover
Osaka Fortune is the meeting of two Norwegians and to Japanese artists - two drummers and two noise musicians. The album was recorded in Osaka, Japan February 2011. The quartet had previously performed live together, but this time they set up a studio recording on their tour of Japan.
JOJO HIRSHIGE is the guitarist and leader of infamous Japanese noise band Hijokaidan, which has been going since 1979, known for their violent and energetic performances. Hiroshige has also run Alchemy Records since the early 80's, which is now concidered a seminal record label for Japanese underground music.
PAAL NILSSEN-LOVE is Norwegian drummer known for bands like The Thing and Atomic, as well as continious collaborations with musicans like Peter Brötzmann, Mats Gustafsson and Ken Vandermark.
LASSE MARHAUG is one of the most active in the Norwegian underground music scene, with several hundred of releases to his name, as well as performing live on all corners of the world over the last 20 years.
PIKA is best known as the drummer of the Japanese rock duo Afrirampo, which ended their activities in 2010. She's also played in Acid Mother's Temple and several other Osaka-related projects.
KOUHEI MATSUNAGA - Drawings
Book + 7" Fang Bomb FB023
Kouhei Matsunaga's Drawings is a book and a 7" vinyl record. The book is the first ever major showcase of his drawing skills. Here, smiling horses meet floating people in a strictly minimalist, slightly psychedelic black and white ink world. The hardcover book is cloth bound, 88 pages, 40 drawings, a few words and lots of space.
The four track 7" vinyl single accompanying the book, credited to his alias Koyxen Mattsunagnen, takes Matsunaga's music a step further towards a more dance oriented approach, as with his minimal techno project NHK and the recent NHK'Koyxen material released by the PAN label, whilst still clearly and firmly rooted in the experimental music scene. The 7" vinyl record was mastered and cut in Berlin by Rashad Becker at Dubplates & Mastering.
Kouhei Matsunaga is a musician and illustrator, born in Osaka in 1979. He started drawing at an early age, and went on to study architecture at university. He has been actively making music since 1992, with notable releases on labels such as Raster Noton, Wordsound, Mille Plateaux, Skam Records and, most recently, PAN. He has collaborated with every known name in the business, including Mika Vainio, Sensational from the Jungle Brothers, Sean Booth from Autechre, Conrad Schnitzler, Merzbow and Asmus Tietchens.
LUBOMYR MELNYK - Windmills
CD Hinterzimmer Records HINT19
Windmills is Lubomyr Melnyk's latest major work in the last 15 years. It is a tour de force of pianistic excellence, and shows the many sides of Continuous Music, both as pattern music and as melody.
It was begun in 2009 and took 3 years to complete, with the addition of the final song of farewell from windmill's ghost. The music contains a story based on a very early Walt Disney animation, The Old Windmill. In Lubomyr Melnyk's version, the windmill is of the old European type, made of heavy stone and wood, standing alone on the top of a hill, facing the onslaught of nature, with wind and rain and storms and everything that it has to face in its 300 year old life. For Lubomyr, the windmill represents a human being, facing so many hardships and trials, standing alone at the top of a hill, we hear the massive but worn gears begin to toil as the wind wakes the windmill from sleep, far away, a terrible storm is brewing, and eventually descends upon windmill with horrendous force, destroying poor windmill... In the music, windmill rises up to heaven, with its wings carrying it up higher and higher... and as it rises, windmill sings its song of farewell, a plaintive melodic theme, its song to mankind, reminding us of the beauties of life and to be grateful to god for all that we have...
The Song Of Windmill's Ghost was worked on in many versions, until it was finalised in 2013. It is the synthesis of all the melodic elements which Lubomyr had envisioned for this Song...
Lubomyr Melnyk (*1948) is a Canadian composer and pianist of Ukrainian origins. During the 1970's he began developing his own unique language for the piano - called Continuous Music - and with it, a stupendous physical and mental technique that is totally unprecedented in the history of the piano. Melnyk, without regard for fame or fortune, has steadfastly devoted his life to the pursuit of pianistic love and excellence, only releasing a few pieces (piano solo or in combination with strings or horns) on vinyl and later on CD-Rs in very small runs.
Lubomyr Melnyk, while finding the contemporary classical music of the time to be far too based on the spectacle, began creating his Continuous Music by rapidly projecting pure chordal sounds (sometime broken) through time, by maintaining a continuous and unbroken stream of tones that build a chain of patterned links, seamless and effervescent, usually with the pedal sustained non-stop. Melnyk has shown a remarkable, almost religious devotion to the piano, always striving to discover new horizons in the physical process of playing the instrument. And as a result, he has carried the art of the piano to unknown and uncharted territories where the mental and physical activities of the piano blend into a meditative and metaphysical dimension.
Melnyk was undoubtedly inspired by the music of Terry Riley and Steve Reich, who had, in turn, been inspired by the Gamelan music of Bali as many of the Minimalists were. Although his music is generally classified as Minimalism, Melnyk strongly refuses that term preferring to call his music Maximalism, much like Charlemagne Palestine, since the player has to generate so many notes to create these fourth dimensions of sound.
LUMINANCE RATIO - Reverie
LP Bocian Records bcLR
GIANMARIA APRILE: guitars, effects, kaoss pad, guqin, sitar
LUCA MAURI: guitars, effects
ANDREA ICS FERRARIS: laptop, bass, cymbals, contact mics, effects
LUCA SIGURTA: tapes, electronic junk
Simone Fratti: bass (A4)
Giancarlo "Nino" Locatelli: bass clarinet (A4, B2) percussions (B2)
Andrea Serrapiglio: cello (A2)
Luca Serrapiglio: sax (A2)
Recording in 2010-2011: Gm Aprile
Editing, mixing: Gm Aprile and Luca Mauri
Mastering: Giuseppe Ielasi
Cover Artwork: Mirt
Photo on Cover by Gianmaria Aprile
This Italian group, with the great CD Like Little Garrisons Besieged (2009) and two intriguing 7"s made in collaboration with Oren Ambarchi and Steve Roden under their belt, are back with a new release on Bocian Records with even greater momentum. Their music could be labelled as "post psychedelic rock ambient." Its dreamlike soundscapes and mysterious, nocturnal atmospheres, hardly volatile, don't waft upwards like some fluff, and the faint motorik skeleton and angular moans from the saxophone don't seem to drive anything here. Everything here reverberates, crackling and creaking disturbingly, producing the entire chromatic scale. Much as Reverie might seem the most accessible release in Bocian's catalogue, it has little to do with "safe" ambient. Rather, it's more of sound guidelines revealing countless surprises.
MARSEN JULES - Beautyfear
CD Oktaf 07
Release date: January 27
File under: Neo-Classical | Modern Ambient | Soundpoetry
With Beautyfear on Oktaf Records the German electronic musician Marsen Jules (CCO, 12K, Kompakt) delivers one of his most outstanding albums so far. Mastered by no one else than 12K-labelboss Taylor Deupree and with a coverpicture taken by the highly acclaimed photographer Erik Madigan Heck from NYC, the best conditions are laid for a lasting experience of abstract musical poetry and touching soundscapeism. Jules has never been this dense, subtile and fragile before. All twelve tracks on Beautyfear were created during a week stay in a theatre workspace on one of the hills of Lisbon. The panoramic view over the dusty city in spring seemed to have been the perfect surrounding for this cloudy soundscapes, which at some points remind of Angelo Bandalamenti's work for David Lynch's Mullholland Drive. "It's an album on the fragility of beauty", as Jules describes briefly. Music that can neither be described as ambient music or experimental sound art, but more likely delivers a poetic approach to music, live and sound itself. With Beautyfear Marsen Jules makes a great start into 2014 and with the already announced cooperation with Swedish filmmaker Anders Weberg and an upcoming release of his works from a residence at the legendary GRM studios in Paris, one should definitely keep an eye on what is coming next.
MAX EILBACHER - Red Anxiety Tracers
LP Spectrum Spools SP031
Release date: December 16
Max Elibacher's Red Anxiety Tracers is the debut long player from the multi-talented Baltimore, Maryland stalwart. Elibacher has performed with various projects such as Matmos, Horse Lords, and the mind-altering underground Needle Gun aktionist unit. Despite years of busy touring and recording, Red Anxiety Tracers is the first vinyl artifact from this young mastermind.
Crafted over the course of a year, Tracers is a labyrinth of shapes and sounds which glide through a complex and arcane environment of found sounds and synthesis. An expertly crafted maze of deja-vu, audio hallucinations, and dislocating atmospheric forms an audio obstacle course for the listener. Complex editing techniques and sound structures recalls the works of J.D. Robb or Owl Records era Tod Dockstader albeit witha radically fresh perspective and educated hindsight.
Red Anxiety Tracers exhumes impeccable flow and careful attention to dynamic range, with it's surgical placement of sound events challenging the deep listening abilities of it's audience. Raw and manic tension overloads are cut with alien dloat and abstract aether transmissions with a constantly shifting palette of sounds spun from blasted modular electronics, vocoded terrestrial-speak, and glowing mellotron clouds. Eilbacher communicates a strange and beautiful dialect conceived through disciplined compositional structure and an intuitive improvisational style unparalleled in the current landscape. Red Anxiety Tracers breathes new life into modern electronic composition.
Spectrum Spools released in association with Editions Mego
MONNO - Cheval Ouvert
CD Idiosyncratics IDCD007
"MONNO is one of Europe's most interesting and innovative avant-garde band at the moment" CRYPTIC MADNESS
"A new record by MONNO is always a tectonic event in the world of avant rock. ( &) They have left their marks on many music fanatics skin by being unpredictable, consequential and without compromise" MONOCHROME
"The band butter their sandwiches with blood, replenish their thermos with Black-Death whiskey and set out on a trudge through the muddy swamps of sludge, doom and drone." TOKAFI
Recorded by Roli Mossiman, former Swans drummer and mastermind producer (Young Gods, The The, Celtic Frost, New Order, Skinny Puppy...), during some bleak and cold December days in a Polish farm, and mastered by James Plotkin, CHEVAL OUVERT is probably MONNO's most accomplished achievement to date as well as their most adventurous and challenging opus.
After sharing the bill with fellow musicians like Knut, Isis, Jesu, Lightning Blot, Melt Banana, Zu, Asva, Todd, Shit & Shine, Marduk or Tony Conrad on the occasion of the 150+ concerts given over the last years, Drummer MARC FANTINI, bassist DEREK SHIRLEY, Electronic musician & vocalist GILLES AUBRY and electrified tenor sax maestro ANTOINE CHESSEX felt the need to come back to studio work. Results a powerful though dark and introspective piece of pure sonic radicalism. CHEVAL OUVERT immerses the listener into a brutal typhoon of intense abstraction. A wild ride on a furiously galloping horse that finds itself torn into pieces by human destruction. Monolithic stabs of distorted saxophone, infinite loops of electronic madness and the devastating pairing of a melting low-end bass and mammoth-like drums resulting in a rock solid wall of ancestral evoking frequencies. The noise of the end of the world and the silence which follows.
The CD comes with a special digipack brilliantly designed by Barcelona based visual artist and allied Marc O'Callaghan. Stricly limited to 300 copies.
PEDER MANNERFELT - Lines Describing Circles
LP Digitalis Recordings DIGIV066
Release date: February 17
Over the past year as Peder Mannerfelt has shed the skin of The Subliminal Kid, we've only had small samples to taste of his new brand of musical sorcery. Lines Describing Circles changes all of that. Ten tracks deep, this is not so much an album as it is a declaration. From the opening, harrowing crackle of "Collapsion," Mannerfelt's intent is to crush the listener into a perfect, metal cube.
Lines Describing Circles, like the EP before it, is laser-focused. It's the sound of a man fully in control of his machines. Throughout the album, though, there are respites. The title track settles into a hypnotic groove while a simple, infectious melody repeats into the darkness. This is music you'll hear at a club after the end of the world. "In Place Of Once Was" has a melody lurking, too, but it's constantly overwhelmed by sub-bass nihilism. Mannerfelt presents the small bit of light as an illusion, knowing full well that by this point we're all wrecked.
This is heavy music, but not without purpose. As sequencers compete in unison on "Alpha Waves," there's a hint at the real meaning of Lines Describing Circles. Mannerfelt is searching for truth through electronic escapism and he's willing to take down anyone in his path to do it. "Gulo Gulo Caesitas" is the pinnacle of the firestorm. Cacaphonous beats pummel into submission while feedback and seemingly endless layers of aural mayhem rain down like sonic acid rain.
As the computerized voice repeats "Barren" over and over on "Evening Redness In The West," the end becomes a myth. There is no horizon left to long for. There is no blood left to bleed. Peder Mannerfelt's transformation complete, he is off to find new trails to blaze as the melancholic pads of "Rotterdam Anagram" are obscured by distorted filth. Everyone rejoice.
Mastered and cut by Stefan Betke.
POEMSS - Poemss
2LP/CD Planet Mu Records ZIQ345
Release date: February 11
'Poemss' is a musical project from Toronto-based producer and music artist JOANNE POLLOCK in collaboration with AARON FUNK, who's recorded music as Venetian Snares. They met in Europe but when Joanne played Aaron her music and visited him at his studio, collaboration started to happen soon after. Poemss will surprise anyone who equates Aaron's music solely with his hard-edged, drum-driven output. The record is the result of a true partnership, with both artists contributing to the writing and performance of the music, the technical aspects of production and to the performance and treatment of the vocals. The result is a collection of soft and dreamlike ballads; Aaron and Joanne's singing adding both texture and poetry to the album. They explain how the record came about:
"This album was made between January and May of 2013. To us, this album is an album of beginnings. It's the beginning of knowing someone, the beginning of a new creative endeavour, and fresh possibilities.
The very first song that we wrote together is included in these tracks, and was to us just an experiment. As musicians, it seemed natural to see what we would make. We can hear ourselves becoming more comfortable with each other as it progresses; an evolution recorded in an album.
This record comes from a very intimate place for both of us, largely because it was recorded in Aaron's house, where Joanne was visiting at the time.
However, although it was recorded in Winnipeg, to us this record seems less rooted in a particular place or time, and seems more to be born out of our thoughts, dreams, and reflections. Listening back to every track, it is difficult for us to isolate which parts either of us brought individually to each song. We launch each other creatively, melodically.
One of us will usually be inspired again to add to what the other is laying down and it works in a kind of cycle like this. It's a nice way to flow and pleasantly surprising to see what the other person brings to it. Much of the time, it really sounds like the two of us together rather than a combination of what we do individually."
REINALDO LADDAGA (ed.) / V.A. - Things that a Mutant needs to Know, more Short and Amazing Stories
Book + 2CD Unsounds 38U
Release date: December 1
Things that a Mutant needs to Know, more Short and Amazing Stories is a collection of fifty-five short tales and fifty-five brief musical works composed by a momentary collective of eighteen musicians. It is published by Unsounds in the form of a book with two CDs, but also as an iBook, in English and Spanish.
The text was conceived by Reinaldo Laddaga as an imaginary second volume of an anthology published in 1956 by Jorge Luis Borges and Adolfo Bioy Casares called Short and Amazing Stories. Much like theirs, the anthology comprises an assortment of tales written or compiled by the most varied of authors (from Lucian of Samosata to Virginia Woolf, Emanuel Swedenborg to Blaise Cendrars): a diverse parade of walking trees, burning dresses, illnesses mysteriously cured, and deaths surprisingly reversed.
The music consists of sonic readings and reactions to the stories, composed by Christine Abdelnour, Claudio Baroni, Justin Bennett, Sylvia Borzelli, John Butcher, Alan Courtis, DJ Sniff (Takuro Mizuta), Barbara Ellison, Ron Ford, Yannis Kyriakides, Anne La Berge, Reinaldo Laddaga, Francisco López, Machinefabriek (Rutger Zuydervelt), Andy Moor, Gabriel Paiuk, Santiago Santero, and Felipe Waller. They are fragments offered to the incidental, mutant reader to be listened to as s/he peruses the texts - soundtracks to the little films that they suggest, musical puzzles and mirrors that reflect the elusive events in the tales as if in placid or turbulent waters.
REINALDO LADDAGA is the author of eight books and the scripts for two music theater pieces. His latest books (in Spanish) are A Prologue to My Father's Books, Aesthetics of Laboratory, and Three Secret Lives: John D. Rockefeller, Walt Disney, Osama bin Laden. His latest piece for the stage is Summer Maneuvers (with C. Baroni and F. Marcaccio). He teaches at the University of Pennsylvania and lives in New York.
Based in Amsterdam, Netherlands, UNSOUNDS was created in 2001 by guitarist Andy Moor, composer/sound artist Yannis Kyriakides, and designer/visual artist Isabelle Vigier. As well as releasing some of their own projects, the output of the label includes contemporary composition, improvisation and sound art by artists such as Anne-James Chaton, Francisco Lopez, Christine Abdelnour, Magda Mayas and Peter Adriaansz.
SISTER IODINE - Blame
LP Premier Sang PS008
5th studio album by the French no-wave / experimental band active since the early 90's.
Composed of LIONEL FERNANDEZ, ERIK MINKKINEN and NICOLAS MAZET.
Recorded 2011 / 2012 at SSS, VBR and Winnig Sperm Party.
400 copies, 350g offset color sleeve, b&w inner sleeve.
The sound of the city that has invaded every synapse of your brain, Sister Iodine are scraping through your skull. The gasoline goo that oozes from your broken ribs, Sister Iodine are sucking on the bitter black blood drips. The pestilent vacuum of your lungs, the dirty little nostril hair, the burnt larynx penetrated by the rusty screams of Sister Iodine. As you walk on the white asphalt of the underpath, the ceramic tiles crackle and break, the oscillator echoes your last foot steps. Your hands melt the snow as it falls from above, Sister Iodine gnaw at every fiber of your cement carcass. Protoplasmic blast and insect bite, BLAME is on you.
French pioneer experimental rock band formed in the early 90's by Lionel Fernandez, Erik Minkkinen and Nicolas Mazet, Sister Iodine is a rare band that with Blame is releasing only now their 5th studio album. Originally born on the ashes of no wave, their music searches through some sort of terminal confusion between rock and chaos; colliding to original raw and atonal no wave, their primitive love of noise music, eruptions and assaults coming from free music; tapes collage, a bitter moisture humected in industrial music, and maybe even poisonous climaxes taken from black metal influences.
The band has released on (r.i.p) Zeitgeist, Textile Records, Premier Sang and Editions Mego. Their latest album Flame Desastre (released on Premier Sang/LP + Editions Mego/CD version with extra-tracks) was released in 2009. In 2011 Sister Iodine released a deafening live record from a tour in Japan, fruit of a brutal savage collaboration with Violent Onsen Geisha & Hair Stylistics leader Masaya Nakahara mastered by Denis Blackham: Sister Iodine + Masaya Nakahara - Meth : live in Tokyo
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