Bremen, "Second Launch"

Bremen

Mind-shattering double LP of dysphoric space-rock minimalism from two luminaries of the Swedish punk underground.

Second Launch follows Bremen’s self-titled debut of 2013 and comprises 11 controlled improvisations, reinforced with overdubs, that take clear inspiration from the dark side of kraut and progressive rock, early electronic and drone music, whilst also owing something to the fathomlessly bleak interior landscapes conjured by Nico/Cale on The Marble Index and Desertshore.

The complex dialogue between Lanchy Orre’s guitar and Jonas Tiljander’s organ, by turns pensive and combative, bound up with their mastery of reverb and feedback, is the focal point of the record; supplemented with drums and sparingly deployed analogue synthesizer tones to evoke nothing less than the vast emptiness of outer space and the obliteration of all meaning and identity in the face of it.

From the full-throttle motorik and bonehead repetitions of "Sweepers" and "Entering Phase Two" (echoes of Tiljander and Orre's alma mater, Brainbombs) to the deep astral psychedelia of "Static Interferences," via the mournful Northern European ambience of "Walking The Skies," the rolling thunder of "They Were Drifting" and the poignant, stargazing blues of "Hollow Wave," Second Launch charts impossible gradients in its search for answers to the oldest questions of all.

More information here.

5187 Hits

Ambarchi/O'Malley/Dunn, "Shade Themes of Kairos"

A three-pronged advance through the heart of physical sunshine playing on the floor of the jungle. Epic, insistent collabasitions played out over four sides making a whole.

(Slightly) more information here.

Ambarchi / O'Malley / Dunn: Shade Themes from Kairos (DC586)

4619 Hits

V/VM, "The Death of Rave (A Partial Flashback)"

V/Vm - The Death Of Rave (A partial flashback) cover art“The idea for The Death Of Rave was conceived in early 2006 after a visit to the Berghain Club in Berlin. At the time Berghain was about to explode on the international club scene as a temple. The feeling was in the air that something special was happening. I went and saw a pale shadow of the past. Grim and boring beats, endlessly pounding to an audience who felt they were part of an experience but who lacked cohesion and energy. For me personally something had died. Be it a spirit, be it an ideal, be it an adventure in sound. Rave and techno felt dead to me.

Continue reading
5791 Hits

The Legendary Pink Dots, "10 To The Power Of 9 (Volume 1)"

10 To The Power Of 9 (Volume 1)-a trailer cover artThe story went like this…….

"There are 10 people who run the World. They are exclusively male, and presidents, magnates, and high priests all do their bidding. The 10 live in villas in the remotest part of the Himalayas—a place that absolutely NO-ONE would ever stumble upon. Although the 10 live in such close proximity to each other, they choose to have meetings in the back room of a small office in London. That's where the  decisions are made. That's where the wars begin, that's where the dice are tossed across the table to establish who wins, who loses, who lives, who dies."

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6926 Hits

Acteurs, "I W I"

I W I cover art

A year on from their Public Information debut, Chicago duo Jeremy Lemos and Brian Case return to the fold with five new pieces of exquisitely produced wave-funk-techno-noise-electronics.

It takes great skill to pull off a three-minute electronic drone-grumble to kickstart your new record. Lemos and Case have it in droves. The tension is jet-black, loaded with friction. Modular energy pulses in and out, in and out. Then suddenly Case takes to the microphone, snarls and spits “Hey Bullfighter, read about you in a book...”

I W I finds Acteurs in a more assured, confident, angry mood than their debut. The signifiers are there – claustrophobic Ike Yard glare, Factory Floor throb, Diagonal abstractions – but we now have a bold swagger, stomping triumphantly into frightening new space. The crushing late-song collapse of "Honey Bear" is a breathtaking wall of clatter and noise that Tim Hecker would blush at. The loopy saw-tooth menace of "River Card" is as strange as anything they've done and the pummeling title track could easily shatter those murky dancefloors of strip-lit basements where people from the future dance in amongst the normals; machine drums puncturing the smoke, ear damaging feedback rattles the walls, torn Moog shapes cutting chatter to zero...end of night.

Out June 2nd.  More information is available here.

 

5196 Hits

Edvard Graham Lewis, "All Over" & "All Under"

All Over cover art

Editions Mego is proud to present the first recordings by Edvard Graham Lewis released this century.  Having made his name in legendary punk/experimental outfits Wire, Dome and He Said, Lewis has developed an exceptional voice with ceaseless exploration of a wide variety of musical forms.

All Over is a song-based album that resides amongst the cracks between narrative and song, sound and music.  Cloaked in an atmosphere of beauty and paranoia, All Over conjures the spirit of Wire's experimental pop trajectory whilst simultaneously exploring a multitude of sonic possibilities.  Gritty mechanical operations support Lewis' wry human observations in a uniquely disturbing melange of punk, industrial, techno and pop.  A dream logic plays throughout All Over courtesy of Lewis' odd lyrical content being set with all manner of disorientating sound and rhythm.

All Under cover art

All Under, the companion release to All Over compiles soundtracks to films, installations and a self-penned short story. This is familiar terrain for Lewis who, along with Bruce Gilbert, produced the early interactive audio-visual installation 'MZUI' at London’s Waterloo Gallery in 1981.

Since this period, Lewis as been involved in countless soundtracks to all manner of cultural artefacts. The haunting score to Gunilla Leander's 2003 short film "All Under" was improvised in real-time with a sampler and FX processing and recorded onto mini disc. The results are a viscous ambience of swirls, feedback and distortion.  This material was then adapted for an immersive 3 screen installation of the same visual material which features combinations of 6 nude bodies (4 men, 2 women) fighting and wrestling, filmed underwater.  The soundtrack here crawls further in the depths as electronic phrases swim amongst a foreboding ambience.  Both of these works encapsulate the same disembodied effect of the visual material as hovering, uncanny sound worlds seep into the listeners subconscious.

"The Eel Wheeled" features Lewis' reading one of his own bizarre stories underscored with a suitably disorientating soundtrack sourced from sound effects of the Prime Sounds SFX Library. This version was re-mixed by Thomas Öberg (member of Bob Hund and 27#11).

"No Show Godot" concludes the set.  A soundtrack to a "sky movie" (road movies be warned) completed in 2013. Coming out of the initial sub-aquatic environments of the opening works, "No Show Godot" takes us on a spiralling high before folding into a gritty godly industrial mantra which comes along as a perfect means of tying up these two concurrent releases as a symmetrical whole.

Both albums will be out June 16th.  More information can be found here.

5496 Hits

"1970s Algerian Folk & Pop"

Sublime Frequencies is thrilled to present a second volume of classic tracks from Algeria's popular music history. Where volume 1 focused on the early to mid-1970s Rai scene in western Algeria, this album features a variety of pop and folk styles from that same period. From the heavier rock and psychedelic sounds of Rachid & Fethi, Les Djinns and Les Abranis, to the haunting folk music of Kri Kri and Djamel Allem and the film soundtrack moods of Ahmed Malek, 1970s Algerian Folk & Pop documents a key period in the modern musical renaissance of a nation in transition.

Most of these tracks are from 45 rpm singles, the key format during the early 1970s before the cassette took over as the medium of choice. Western musical influences can be heard throughout this extremely diverse record, yet there is an undeniable Algerian sense of sadness contained here within a more tolerant space in time between two of the country's most significant historical periods; National Independence from France and the darker times of a brutal civil war yet to come. Compiled by Hicham Chadly, this limited edition LP comes in a full-color gatefold jacket with lovely images from the period and extensive liner-notes by Omar Zelig, Algeria's most legendary radio DJ.

More information will soon be found here.

4749 Hits

Maria Minerva, "Histrionic"

Maria Minerva

NNF's favorite comedienne/diva/artstar Maria Minerva returns with her greatest album to date, Histrionic, encapsulating universes of life wisdom, deadpan truth, and heartbreak abstractions.

Maria Minerva's music has always felt suffused with a sense of distance. Her songs long for states of being just beyond reach. Though her earlier recordings communicated this disconnect via Wi-Fi warped fidelities, her recent work is more interested in overtly contemporary sonic vocabulary: digital, detailed, diaristic. Histrionic is Minerva's first full-length conceived and finished on American soil (she recently acquired a U.S. artist’s visa) and is, coincidentally, her most versatile and assured.

The album's 11 skewed slices of synthetic pop function collectively as a fragmentary self-portrait: there's the shuffling, layered beats of various UK bass scenes absorbed during her years in London clubs; the anthemic '90s global dance pop of her youth in Estonia; the spoken-word and experimental samples gleaned from her university days; and the floating textural ballads born from the displaced life of a touring musician, stranded in hotel rooms and airport terminals. The lyrics are similarly layered, vulnerable yet oblique, embracing pop tropes of romance and heartbreak while also hinting at their hollowness. It’s this woozy commingling of dispassion and melody, of fantasy and foreignness, that infuses Histrionic with such rich ambiguity.

More information here.

4899 Hits

Sculpture, "Membrane Pop"

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Membrane Pop is the debut Software Recording Co. release by experimental duo Sculpture.

The self-described opto-musical agglomerate was born in 2008 after a chance encounter between British musician Dan Hayhurst and New Zealand animator Reuben Sutherland. By combining practices, the pair's first test splattered a psychedelic palette that pushed them to explore sensorial intricacies emerging from chance operations.

Raw materials for Sculpture's music include a mix of analog and digital practices. In Hayhurst and Sutherland’s hands, tape manipulation, samples, found sounds, aleatoric and algorithmic programming and live improvisation become more complementary than you might imagine.

Sculpture draws from experimentalism to promote new potentials for pop and electronic music in an age where many of our sci-fi fantasies have become mundane occurrences. "I’m aiming to make a coherent, adventurous electronic pop record with its own voice and identity," Hayhurst explains. "I don't think experimental music has to be dark, difficult or joyless. I try to make something playful, and maybe a little absurd."

At the center of Membrane Pop is a phenomenological approach to sound and performance. "Symbolic Molecule" is a morphing, unsettled groove, but its addictive properties remain potent. "Polymorphic Operator" bubbles with a sort of chemical effervescence; the ghost of Jamaican dub modulating itself into an infinite haze. Sculpture's compositional predilection emerges amidst scrambled sound worlds in "Hackle Scam Populator," while "Distraction Display" is perhaps the closest ambient cut on the record.

What makes Sculpture sculptural (we bet the original Abstract Expressionists would have dug them) are moments where their craftsmanship feels almost animate within the constraints of musical time. In the opening seconds of "Lingual Junk," these moments appear to freeze and unthaw an old recording. As the track narrative unfurls, you can feel Hayhurst fighting to acclimate the sound from out of cryostasis and into his reality.

If a majority of the music you hear today resembles the hard-set stone carvings of history, then Sculpture's offerings are imagined, transitory statues with no fixed place in time. Hearing Membrane Pop in a different context, time or place may well bring about a different experience. Or perhaps a similar result.

Sculpture's Membrane Pop will be released in LP and digital formats on May 13, 2014.

More information available here.

5010 Hits

Tom Kovacevic, "Universe Thin As Skin" (ex-Fire on Fire/Cerberus Shoal)

01 Steady Stream Of Course

Universe Thin As Skin is the debut solo album from Portland, Maine's Tom Kovacevic, a multi-instrumentalist who has been a vital part of the Portland musical landscape through his work with the bands Olas, Fire on Fire, Cerberus Shoal, and tarpigh.  For his solo debut, Kovacevic focuses on the Arabic music he has been studying for twenty years.

Kovacevic had played guitar for many years when he decided to learn how to play the guitar’s ancestor, the oud.  After playing the oud for some time he learned the nay flute (rim blown and fully chromatic) which is not only one of the oldest instruments in continual use (4,000+ years), but also one of the most difficult to play.  One of the predominating musical influences on the record is related to the drums used. The djembe and tchung drums used were made in Senegal, and artists such as Bembeya Jazz National, Super Diamano De Dakar, and Salif Keita are vital influences.

Universe Thin As Skin was recorded at the Blue House, where Tom lives with Cerberus Shoal and Big Blood member Caleb Mulkerin, who also recorded the album.  The record took about six months to record, as both would meet when they had availability.  This is also the main reason Tom played all the instruments on the record.

Lyrically the album addresses life in this world in which we find ourselves.  There are references to the new physics, an area of interest.  "Song for Peter" was written for the brother of a good, good friend whose life hung in the balance (he survived).  The nay flute pieces "Kürdi" and "Dulab Bayati" are in traditional Maqams (modes), and "Dulab Bayati" is in a traditional Arabic form.  The title track is special because it was written in the living room, just in front of the dining room pictured on the front and back covers of the album. This is the house Tom grew up in, and it is no longer in the family.

Tom currently performs with Olas, a group that features two flamenco dancers and original compositions, as well as with the Alhan Middle Eastern Classical Music Ensemble.

More information is available here.

4843 Hits

Thomas Ankersmit, "Figueroa Terrace"

Thomas Ankersmit is a musician and installation artist based in Berlin. Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of his work since the early 2000's.

In the winter of 2011-2012, Ankersmit was invited by the CalArts electronic music studios, Los Angeles, where the Serge was originally developed in the early 1970s, to record new music with their heavily customized and recently restored "Black Serge" system.

In addition to conventional analog synthesis techniques (FM, AM, ring modulation, filtering, enveloping and panning under voltage control), Ankersmit used various kinds of waveshaping, distortion and feedback (both internally as well as via a microphone and speaker setup in the studio); oscillator-generated frequencies at the upper and lower limits of auditory perception; a patch matrix to control quick transitions; a homemade circuit-bending type interface to create momentary interruptions to the signal flow, and the scraping of a contact microphone. Aside from recording, editing, and a few instances of reverb, no digital technology was used.

The music is finely tuned and highly detailed, yet also visceral and raw. Marked by sharp perceptual contrasts, the piece shifts between dense formations of electric noise, to fields of micro-events moving with an intuitive logic, and feedback-drones of overwhelming intensity. The sounds have a real-world physicality, bringing to mind swarms of locusts, distant storms and creaking machinery rather than "synthesizer music."

The piece was premiered in North America at REDCAT in downtown Los Angeles and in Europe at Berghain, Berlin, for the MaerzMusik Festival.

The music is originally quadraphonic and mixed to stereo for this release. Figueroa Terrace is Ankersmit's first full-length solo studio release.

Thomas Ankersmit: Serge analogue modular synthesizers, contact mic. Recorded at CalArts, Valencia and in Los Angeles, December 2011-February 2012.

More information is available here.

4545 Hits

"Punk 45: Sick on You! One Way Spit! After the Love & Before the Revolution: Proto-Punk 1969-77"

This new Punk 45 album is a collection of tracks of twisted, raw and energized proto-punk music from the early 1970s, ahead-of-its-time music which led the way for the birth of punk in the second-half of the 1970s.

This new album is compiled and has extensive sleeve-notes by Jon Savage.

Punk 45: Sick on You! One Way Spit! After the Love & Before the Revolution: Proto-Punk 1969-77 is the third volume in this series, following on from the two earlier albums as well as the massive 400-page Punk 45s cover art book published last year.

While the first in the series, Punk 45: Kill The Hippies! Kill Yourself!, focused on the rise of underground punk in America, and the second album, Punk 45: There is No Such Thing as Society did the same for punk and post-punk in Britain, this album draws upon some of the stripped-down hard garage and post-glam sounds of mainly obscure bands that existed in the early 1970s - that were to prove the template for the forthcoming punk movement.

This is a unique and fascinating collection of proto-punk tracks from across the USA - Cleveland's Electric Eels, San Francisco's Crime, Los Angeles' Zolar X, Baltimore's George Brigman and more – as well as from the UK –  with Joe Strummer's pre-Clash 101ers, the speed- induced r'n'b of the Count Bishops, and others also included.

As usual the album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork.

The album is released on CD with outsize large booklet and thick slipcase and limited-edition super-loud, super-heavy double gatefold-sleeve vinyl edition complete with full sleeve-notes and free download code. These Punk 45 releases are also the first that Soul Jazz Records are making available as worldwide digital releases.

More information here.
8548 Hits

Jeff Burch

Jeff Burch's first solo full-length album is comprised of two expansive instrumental compositions anchored by beautiful old acoustic guitars and a modular synthesizer.

He hoists his sounds up through the remnants of the 60's downtown drone spirit, through the fetid fruits of post-war central Europe and the scattered output of present-day suburban outsiders. The arrangements shift gracefully from floods of lush string texture to driving guitar and drum motif, from ebbs of brass and deep electric sine wave to thick hazes of clanging din and steely whine.

Cover photographs by iconic New York artist Roni Horn.

Composed, recorded and mixed between 2010 and 2012.

Recorded with Casey Rice/Designer (Tortoise, Dirty Three) at Classicx, Melbourne and Jamie Kennedy (of Surf City) at Henry Street Studios, New York City.

Featuring guest percussion by Stephen James (Songs, Rand and Holland), electric guitar by Tres Warren (Psychic Ills, Compound Eye, Messages), tenor saxophone by Marcus Whale.

Mastered by Patrick Klem (Sonic Youth, Six Organs of Admittance, The Dead C) at Klemflastic Sound, Phoenix.

Originally from the crystalline shores of northern New Zealand, Jeff now resides in New York City's torrid Lower East Side. Head of imprint The Spring Press, he has also founded numerous groups in both New Zealand and Australia.

Out May 13th.

More information will eventually be found here.  Listen here now.

4391 Hits

Valerio Tricoli, "Miseri Lares"

Miseri Lares

It has been 7 years since Metaprogramming From Within the Eye of the Storm, the last solo full-length release by Valerio Tricoli.  In the years between, he has established himself as a formidable presence on the international experimental live circuit and released acclaimed collaborations with Antoine Chessex, Coi Tormenti (Dilemma Records, 2010) and Thomas Ankersmit, Forma II (PAN, 2011) along with the fifth full-length release by his band with fellow Italian cohorts 3/4HadBeenEliminated, Oblivion (Die Schachtel, 2010). Throughout these shows, collaborations, and ongoing explorations, Valerio has developed upon his signature style of beautifully unsettling Musique Concrète.  The result of his tireless explorations, Miseri Lares is his magnum opus, a multilayered and heavily nuanced work which epitomises the uncanny in the realm of sound.

Miseri Lares explores a variety of interlocking themes and sonic tapestries that combine in a quietly disturbing and deeply existential work.  As a contemporary take on Musique Concrète, Tricoli utilizes his full explorations of the Revox tape recorder alongside digital processing whilst retaining all of the mystery and surprise elements found in the classic approach of pioneers such as Bernard Parmegiani, Eugeniusz Rudnik and Michel Chion.

Themes of the internal, represented by both the psychological and the physical,  play throughout the record.  A mind lays waste to it's own self-abasement the  immediate surrounds (casa or 'home') feeds on the collapse of the individual.  As a  symbol of spirits preying on the grief within, haunting wisps of sound swirl around a  throbbing bass in "Hic Labor Ille Domus et Inextricabilis Error," whereas "La Casa  Deviata" emphasizes the paranoid structure as looming creaks make way for abandoned pipes and a cloud of escaping water.  Here, the tension at play is injected with a treated dictaphone recording: "Tell me what happened","I can't remember…THE SMELL!!! There was a tape recorder, where is the tape?"

Spoken text (Italian and English) appears throughout the record, mostly as texture or as a dehumanized floorboard: a play on the album's themes of the psychological, emotional and irrational horror within.  Texts by Italian poets Dante and Guido Ceronetti appear alongside excerpts from The Ecclesiastes, H.P. Lovecraft, E. M. Cioran, and writings by Tricoli himself.  These add an extra weight to the recording, making it reminiscent of Robert Ashley or even the comedic tragedy of recent Scott Walker (baritone aside).

Valerio Tricoli's release for PAN adds another piece to the puzzle of narrative-based concrete music, yet deviating from all conventional forms and playing out like a literary form of unsettling sound sculpture.

The 2xLP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press jacket which itself is housed in a silkscreened pvc sleeve with with photography by Traianos Pakioufakis and artwork by Bill Kouligas.

More information is available here.

5271 Hits

"Bleep: 10"

Bleep:10 is a celebration of ten years of music on Bleep. A decade of enjoying and working with some of the best artists and labels, and hopefully conveying our love of the vibrant music community we are a part of.  For this fourteen track compilation we have sought out new and unreleased gems from some of our favorite artists, all of whom continue to shape the direction of the Bleep store. Together they represent different labels, scenes and genres that are important to us.

We open the compilation with an enveloping, never before released track from Wolfgang Voigt's revered Gas project. Lone provides his first new track since last year's massive "Air Glow Fires," whilst there is further explosive dance floor material from Untold, μ-Ziq, Modeselektor and Byetone.  Shackleton turns in a relentless track of rough and thrilling techno, while Autechre's contribution "SYptixed" is a dark and precise piece of heavy electronic experimentation. Oneohtrix Point Never and Nosaj Thing provide moments of ambient respite, while Dabrye's playful beat track "Click Clack" is the first solo production to be released by the artist since 2009.  Nathan Fake closes the release in fine style with glistening epic "Vanish North."

More information is available here.

Bleep:10

709 Hits

Cold Cave, "Full Cold Moon"

After two full-length albums released by Matador Records, Cold Cave (aka Wesley Eisold) released a series of limited edition singles via his own Heartworm Press and Deathwish Inc.  Full Cold Moon is not a new Cold Cave album, but a compilation of these singles in chronological order on one digipak CD.

Release date: May 13th.  More information is available here.

 

 

4988 Hits

Inventions (Eluvium/Explosions in the Sky)

Inventions is the new band formed by longtime friends, tourmates, and labelmates Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. It began in earnest in 2013 when Cooper invited Smith to collaborate on a song for Eluvium's otherworldly double-album, Nightmare Ending. The track, "Envenom Mettle," was a standout on an album full of them, and just like that a longstanding friendship blossomed into a full-fledged creative partnership. There are plenty of talking points here: The fact that Cooper hasn't been in a “band” of any sort since he was a teenager; no member of Explosions In The Sky has released an album outside of the context of EITS since their inception in the late 90s; and, of course, this is a dream duo for anyone familiar with the unparalleled emotional resonance of Cooper and Smith's respective day jobs. However, thirty seconds into their eponymous debut album, you realize that the esteemed pedigree is irrelevant. Inventions exceeds all expectations by discarding them from the get-go. They have created their own tiny, wondrous corner of the world, one with ever-changing sounds and colors.

More information is available here.

4009 Hits

Watter, "This World" (Grails/ex-Slint)

This World

Watter is a new trio made up of close friends and collaborators whose collective pedigree reads like a desert island list of must-haves in experimental rock musicians. Multi-instrumentalists Zak Riles (Grails) and Tyler Trotter are anchored by legendary drummer Britt Walford (Slint, Evergreen) on six genre-defying pieces of monolithic mood music.

For Riles and Trotter, it's a chance to dig deeper into the sandbox in which Grails have sculpted many mercurial masterpieces in recent years; for Walford, it's the opportunity to play a substantial role in a new active band for the first time in nearly twenty years.

Written, recorded, and produced entirely in the group's collective studios in Louisville, KY, This World is a stunning combination of heady psychedelic rock, vintage cinematic New Age explorations, and sinister Krautrock, performed with seemingly endless stamina. Born out of many late-night jam sessions, many songs also feature fellow Louisville icons – Rachel Grimes (Rachel's) provides several of the album's most sublime moments, and The For Carnation's Todd Cook lays the heavy, bass-driven foundation for the penultimate epic, "Seawater" – as well as a subtle, sinister contribution from legendary King Crimson bassist Tony Levin. This World is the kind of album that inspires renewed wonder in the mysterious powers of Louisville's water supply. It draws impossibly broad inspiration from decades of Eastern and Western folk, rock, ambient, film score, library music, and neoclassical, and masterfully emerges with an ever-enveloping suite perfectly befitting its constantly curious composers.

Out May 15th.

More information is available here.

4631 Hits

Steve Gunn & Mike Gangloff, "Melodies for a Savage Fix"

Steve Gunn and Mike Gangloff (Pelt) combine six-and 12-string guitars with gongs, tanpura, singing bowls, shruti box, and banjo fora gorgeous collection of improvised compositions. The two artists took it pretty far off the beaten path for Melodies for a Savage Fix, sequestering themselves for an overnight session in the remote farmhouse/recording studio of noted roots-music engineer Joseph Dejarnette (Carolina Chocolate Drops, Bruce Greene, Curtis Eller) in the countryside of Floyd County, Virginia.

There in the tiny community of Topeka, miles from the county's one traffic light, they set up an assortment of six- and 12-string guitars, gongs and Indian instruments, plus the banjo Gangloff sometimes plays at monthly square dances at a country store just up the road, and settled in for an intense night of improvisation.

More information is available here.

4791 Hits

Acid Mothers Temple & The Melting Paraiso U.F.O., "Astrorgasm From The Inner Space"

Acid Mothers Temple & The Melting Paraiso U.F.O.'s new album Astrorgasm From The Inner Space features their original vocalist Cotton Casino and is being released in conjunction with their two-month tour of the USA beginning April 23rd at the Mercury Lounge in New York City. Available on CD and deluxe double LP.

As usual, AMT delivers to Important their most scorching tracks. They've included, appropriately since Important is set to issue Grayfolded on triple vinyl, a brand new recording of "Dark Star Blues" with Cotton Casino.  On Astrorgasm From The Inner Space, Acid Mothers Temple look towards their source (the band turns 19 this year) while also evolving towards their next stage.

More information is available here.

5610 Hits