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Jack Dangers, the mastermind behind Meat Beat Manifesto, has already established his reputation as a legendary figure in electronic music. With classic albums such as Storm The Studio, Armed Audio Warfare, Satyricon, In Dub, and 2008’s Autoimmune, MBM has never stopped evolving and influencing the musical landscape. Over the course of its existence, MBM has been labeled industrial, techno, breakbeat, IDM, Acid House, Drum N’ Bass, Dubstep, and more. No label seems to stick, as the music evolves with every release. With the new album, Answers Come In Dreams, Mr. Dangers once again expands on the Meat Beat Manifesto sound. Hypnotically beautiful, the album pulses with life.
Released on Metropolis and available October 12th, 2010.
01. Luminol
02. Mnemonic
03. M.Y.C.
04. Let Me Set
05. #Zero
06. Quietus
07. Token Words
08. Waterphone
09. 010130
10. Zenta!
11. Please
12. Chimie Du Son
Now available from BRAVEMYSTERIES.COM
CQBL001 | Burial Hex | Fantasma Di Perarolo | c55
[Limited edition 20 Gold on Gold | 80 Gold on Black]
Pipe organ sonata by Clay Ruby featuring liturgical medleys and elaborate funerary improvisations with accompanying electronic atmospheres by Giovanni Donadini, Nico Vascellari and Riccardo Mazza. This performance was given on the mid-eighteenth century pipe organ at Chiesa di San Nicolò di Perarolo di Cadore and recorded December 23rd, 2009 at the inauguration performance of Nico Vascellari's exhibition at Perarolo, as currated by Daniela Zangrando. A crowd from all over Italy traveled north to join the curious villagers, all huddled together in their warmest winter clothes to witness this performance, which involved a 3 hour funeral procession and memorial within the massive, candlelit, unheated church that is the center of tiny village lost high in the frozen Dolomites of northern Italy. Two elderly natives furiously pulling ropes to pump the bellows of the ancient organ while Clay Ruby conjures decayed hymns, modal improvisations, spiraling tone clusters and utterly supernatural voices out of its sputtering pipes. This tape captures a 18+ minute excerpt of the lengthy proceedings, documenting the howling organ, the cryptic electronics and the frozen spirits singing in the pulsing and surreal environment of the centuries-old church.
Now available from BRAVEMYSTERIES.COM
All cassettes are professionally duplicated and imprinted on high-bias chrome tapes and are delivered individually shrink-wrapped. Colored tapes are shipped first come first serve only.
PPD $7-USA | $8-CAN | $10-WORLD
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Unavailable for over 10 years, this new edition of “Lebenserinnerungen Eines Lepidopterologen” (“Memoirs of a Lepidopterist”) collects the collaborative and early solo works of Andreas Martin and Christoph Heemann as an extensive 2CD retrospective.
Moving between minimalist guitar compositions, tape-music narratives, and an array of cascading electronics, each of Martin and Heemann’s solo recordings blend seamlessly within the milieu of their collaborative work.
While one can hear how this forged the groundwork for much of the late-period H.N.A.S. material, the work here took the vision further, and helped shape a path toward their respective solo endeavors. Included are compositions from their first solo releases: Martin’s “Doppelpunkt Vor Ort” (1993) and Heemann’s-“Uber den Umgang mit Umgebung and Andere Versuche” (1991), each originally released as small edition 10” vinyl. Also featured is a prime selection of previously unreleased material, obscure 7” tracks, and their collaborative opus from the (H.N.A.S.) “Ach, Dieser Bart!” LP (1988).
This deluxe set includes two additional tracks (not appearing on the previous edition), remastered audio, and fully restored visuals. All packaged in a beautiful mini-LP gatefold jacket with an updated 4-page booklet. Over 100 minutes of music covering the years 1987-2000
"In the early eighties Robert Haigh released several highly acclaimed albums under the name of SEMA on his own label Le Rey Records.
The most notable being 'Three Seasons Only'. He also contributed piano and recordings to various Nurse with Wound projects including: Homotopy to Marie, Sylvie and Babs Hi Fi Companion, Spiral Insana.
The final release on Le Rey Records was his solo piano album 'A Waltz in Plain C' (CD) in 1989 and after that release Robert left London and settled in Hertfordshire.
20 years have passed since then. "Notes and Crossings" is the album that Robert has jokingly referred to as the follow up to 'A Waltz in Plain C'. "Notes and Crossings" is an album of pure piano music (with some treatments) - there is no use of percussion and electronic sequencing etc. The album is comprised of 14 pieces of written and improvised piano music, including an unreleased (but re-recorded) track from 1989 : 'Tomorrow Never Came'.
Robert says : "Piano is my real love and I am excited to have the challenge to work within the (limitless) limitations and expressions of this medium"
This is what long-time SEMA listeners expect from Robert Haigh, and will appeal to those who love works by Erik Satie, Claude Debussy and Harold Budd. In an edition 500 copies with hand-made miniature jacket sleeve designed by Faraway Press.
Siren Records is very proud to release this long awaited beautiful new album by Robert Haigh."
http://ghostsonwater.blogspot.com/
UK release date: July 5, 2010
US release date: July 20, 2010
Disc One
1. In the Art of Stopping - 3:34
2. Mr Marx's Table - 3:02
3. Being Watched - 2:57
4. Comet - 3:17
5. The Agfers of Kodack - 3:11
6. Nice Streets Above - 3:45
7. Spent - 4:43
8. Read and Burn - 2:34
9. You Can't Leave Now - 3:41
10. Half Eaten - 1:58
11. 99.9 - 7:42
Disc Two
1. I Don’t Understand
2. Trash/Treasure
3. Raft Ants
4. Germ Ship
5. 1st Fast
6. Artificial Gravity
7. Dj Fuckoff
8. 12 Times U
9. Our Time (Minimal Mix)
10. Desert Diving (Alternate Mix)
11. 12 Times X
Send Ultimate is an archaeology of Wire in the studio between 2000 and 2003--a period during which the band worked on new music for the first time in a decade. This retooled edition of Send gives fresh insight into an exciting chapter for Wire, expanding the frame around the album and providing a larger context with rare and previously unheard material. The double-CD includes both sides of the 12 Times U vinyl-only collectors item (the '12XU' remixes that catalyzed Wire's Send-era burst of creativity); unreleased curiosities such as 'DJ Fuckoff,' an exercise in hyperkinetic dancefloor lunacy; alternate versions of numbers originating in this period that subsequently appeared on 2007's Read & Burn 03; and the tracks from the first two (out-of-print) Read & Burn EPs that were omitted from the original Send.
Crow Eye Hint is a drone record. One track which uses the noise and resonance of
a piano when sustain pedal is relaesed and depressed.5 minutes into this there is
a few second burst of two tone riff, than the piano innards soundscape returns.
After reaching a climax it gives way a single note on the same instrument develops
through repetition into a pleasant drone inviting strings. At a precise moment
tonality of texture lifts by a semitone and develops further.
From depths a permutation of the original theme returns adding an extra element of
forward propulsion until a natural conclusion is reached after 54 minutes
and a few seconds.
Handmade cover.
price 15 Euro including shipping worldwide.
you can get it from: www.aranos.org
There is an mp3 of the whole record there, but it seems to load very slowly, as it is 54 minutes long!
As some of you may know, Jack Rose suffered a fatal heart attack on Saturday, December 5th 2009, and passed away at the very young age of 38. He was an incredible guitar player, a contemporary legend, a warm spirit, and dear friend. So it is with great sadness that I offer to you his last record, "Luck In The Valley", for consideration in the coming months... We are still without words...
"Luck In The Valley" is set for release on February 23rd.
A native of Virginia and resident of Philadelphia since 1998, Jack Rose first rose to prominence with the drone/noise/folk unit, Pelt. Pelt can be counted among the early influential new music underground bands such as UN, No Neck Blues Band, Charalambides, Tower Recordings and Six Organs of Admittance. Rose recorded and toured with the band up until 2006. Rose released his first solo LP in 2002, "Red Horse, White Mule", of post-Takoma, American primitive guitar. Along with the influences of John Fahey and Robbie Basho, Rose also incorporated North Indian classical, early American blues, bluegrass and minimalism into his singular style. 2005 saw the release of his fourth LP, "Kensington Blues", which incorporated all of the aforementioned influences and his playing/composing fully flowered. That LP is now considered a classic of contemporary guitar music.
In 2008 and 2009 Rose released "Dr. Ragtime and Pals" and "Jack Rose and the Black Twig Pickers" respectively. Those recordings featured many additional players like Glenn Jones, Micah Smaldone, Harmonica Dan and the Black Twig Pickers. The songs drew heavily on pre-war influences, either written by Rose or were his arrangements of early American classics. "Luck in the Valley" will be the third album in this set of recordings that Rose jokingly refers to as his "Ditch Trilogy". Rose continues his exploration of pre-war American music with a set brand new material featuring the Twigs, Jones, Harmonica Dan and Hans Chew along with a handful of solo pieces. This recording set out to capture the energy and feel of the classic three-track shack recordings by the Wray Brothers and Mordicai Jones. "Luck In The Valley" was written and recorded over a period of nine months off the road, an unusually long time for Rose to be at home and woodshedding. The album finds Ro
se employing new themes and techniques that haven't appeared on previous releases.
Like all pre-war recordings and all of Rose's releases, this album was recorded live. It was not created using overdubs but rather by recording a few "takes" and selecting the best performance out of those. Rose stated, "I wanted the songs to have an immediacy and spontaneity as they were being recorded. All the musicians chosen for the record know how to play the songs without overworking the material, but at the same time creating memorable accompaniments on the spot." Several of the songs are in fact the first takes like “Blues for Percy Danforth”, “Lick Mountain Ramble” and "Woodpiles on the Side of the Road". Also Included in the set are three covers: “St. Louis Blues”, “Everybody Ought to Pray Sometime” and “West Coast Blues”. All of these pre-war classics are Rose’s unique arrangements.
The album title refers to the old red light section of St. Louis and was a code for procuring the services of a prostitute. Says Rose "I read about it on some liner notes to a reissue of pre-war St. Louis recordings and I liked the ring of it." An avid record collector with an encyclopedic knowledge of pre-war American music, Rose has been acknowledged as a rising star among contemporary guitar players. "Luck in the Valley" finds Rose at his best surrounded by like-minded friends on a recording that is enriched by a sense of history but entirely new, vibrant and warm.
"Eclipses" is an extension of "Gyromancy". Remaining in view of what came before and altering the vision. Pushing out beyond natural terrestrial landscapes into those slightly more cosmic or alien in scope. It makes an appropriate addendum to the onset of this particular phase.
Flanko Iun (1)
1. Crayon Gym
2. Fantomoj de la Vitro Domo
3. Suno Vidis
Flank Du (2)
4. Tajdaj Ondoj
