Black Sunroof!, "4 Black Suns and a Sinister Rainbow"

4 Black Suns & a Sinister Rainbow is the all new double album from legend Matthew Bower (Skullflower/Pure/Total) and his Voltigeurs cohort Samantha Davies. Wrenching the swirl of extreme drone alongside buried melodic texture and harsh blackened noise comes a gnarled, cohesive work which serves as evidence that even the most prolific artists can find boundaries to break, and envelopes to push. The nuance in this double album is infinite, with each listen rendering a new discovery. For those with the deep-seeded desire to challenge the listening impulse, and continue what is nearly the fourth decade of the musical progression of a master, you will undoubtedly be entranced by this lush mosaic of sonic density.

EDITION: 500, 2XCD, hand-numbered

RELEASE DATE: FEBRUARY 19, 2013

More information here.

BLACK SUNROOF! - 4 BLACK SUNS AND A SINISTER RAINBOW

6773 Hits

Kevin Drumm, "Tannenbaum"

Kevin Drumm returns to Hospital with a double album of malign electronic ambient music. Drumm's subtle work with shifting, roving drones keep the pace and tempos moving with a Hitchcockian tension while details of a story emerge with swells and fades as other sequences are lost in the clatter of long chambers of isolation adorned with the trimmings of pagan beauties.

More information here.

 

KEVIN DRUMM - Tannenbaum image

 

7588 Hits

"Scattered Melodies: Korean Kayagum Sanjo"

Scattered Melodies is a compilation of Korean Kayagum Sanjo Music. Sanjo, meaning "scattered melodies," is a form of stylized string improvisation developed in the 1890s originally for the Korean kayagum, a smaller distant cousin of the Japanese koto. Stark and haunting, falling in the gaps between folk and classical music, kayagum sanjo employs a gradually increasing tempo, focused improvisation (the "scattering of melodies"), elastic rhythms, and intense snaps and vibrato that seem to power through the hazy abstractions of the 78rpm recording technology (these are old, exceedingly rare records that have survived nearly insurmountable odds: invasion, occupation, war, division.).  Presented here are a few of the masters of sanjo as it originally emerged in the early part of the 20th century on 78rpm recordings from 1925 to the early 1950s. This limited edition LP comes enclosed in a beautiful tip-on jacket with two-sided insert featuring extended liner notes by compiler Robert Millis.

More information here.

 

LP SF077 Scattered Melodies (SF077) is a compilation of Korean Kayagum Sanjo Music. Sanjo, meaning

7251 Hits

"The Crying Princess: 78 rpm Records From Burma"

The Crying Princess compiles rare Burmese 78rpm records gathered by Robert Millis and Sublime Frequencies co-founder Alan Bishop during various trips to Burma (Myanmar) and continues the tradition of amazing music from this Southeast Asian nation released by SF (Princess Nicotine, Guitars From the Golden Triangle, Music of Nat Pwe). Spanning the years 1909 to 1960 these unique and ridiculously rare records feature early sides by Po Sein (one of the giants of early Burmese music and theater), vocal and harp music from 1929, "modern songs with electric guitar," and unique Burmese pop songs with piano, all from 78rpm sources. This limited edition LP comes enclosed in a beautiful tip-on jacket with two-sided insert featuring liner notes by compiler Robert Millis.

More information here.

 

VARIOUS ARTISTS The Crying Princess: 78 RPM Records from Burma LP (Sublime Frequencies)

7690 Hits

Charlatan, "Isolatarium"

It's tough to know what to expect when dealing with the output of musical mastermind Brad Rose.  Under a plethora of different guises he has stamped his mark on just as many genres, yet Isolatarium, his second under the Charlatan moniker might be his most focused to date. Dispensing with the jerky 808-led shimmer of its predecessor Triangles, Isolatarium makes its case with cold, digital synthesis and buried 4/4 pulses. The searing noise of Rose's output as The North Sea is still audible somewhere in the mix, but the key to this record is restraint, and any clouds of white noise are tempered by cascades of sizzling FM synthesis.

While album highlight "Kinetic Disruption" gives a nod to the outsider dance moves of Actress, Rose manages to push his clatter even further into the ether with a shroud of grinding oscillators and grimacing tape noise. It almost sounds like a devastating new take on the delirious experiments of Maggi Payne or Suzanne Ciani, but with the added hoarse cough of 21st century pessimism. Rose makes his best case with the album's closing track "Terminal Zero," and as the clanking percussion and drunken tones spiral into spluttering computer malfunction there's no doubt that he has hit on his richest seam to date. Sometimes to move forward we have to take a couple of steps back, and in doing this Rose has struck upon something lonely and undeniably beautiful.

More information here.

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5510 Hits

Talvihorros, "And It Was So"

What started out as a personal challenge to make an album in 7 days grew into something else entirely.  Over a year in the making, and expanding his trademark guitar sound with drums, strings, bells, organs and synthesisers, And It Was So features contributions from fellow label mates Field Rotation (violin) and Petrels (cello) along with tour partner Jordan Chatwin (drums/percussion) and long time collaborator Anais Lalange (viola).

If last year's album Descent Into Delta was reminiscent of plunging into the murky depths, his latest offering And It Was So evokes the expansiveness, dynamicism and density of the cosmos.  Attempting to find order in chaos is something Talvihorros has been striving to achieve over the past three albums and he has never balanced these elements so beautifully.

More information here and here.

5357 Hits

Holly Herndon, "Movement"

Holly Herndon's Movement is the debut offering of material by the young musician, modernist, and machinist.

Restless for reckless cultural immersion, Herndon left her Johnson City, Tennessee home as a teenager for Berlin, Germany. For several years, Herndon lived and learned techno music as party dweller and performer, eventually returning wide-minded to the States to pursue a Masters in Electronic Music at Mills College. Under the guidance of network pioneer John Bischoff, Roscoe Mitchell, and Maggi Payne, Herndon pursued her experiments with processed voice and explored embodiment in electronic music, earning the Elizabeth Mills Crothers award for best composer in 2011.

Started at the end of Herndon's studies, Movement is a test chamber that hybridizes her modern composition training and undying devotion to club music. To this extent, the influences of Maryanne Amacher and Galina Ustvolskaya are as prevalent in Herndon's music as Pan Sonic and Berlin and Birmingham 90s techno. Still, in line with pop deconstructionists Laurie Anderson and Art of Noise, Movement is purposefully positioned to reach new ears beyond a niche.

Honoring a strong tradition of computer composition from Stockhausen to Florian Hecker, Herndon is unapologetic about using a machine as her primary instrument. She builds most of her own instruments and vocal effects in the visual programming language Max/MSP, and sees it as a principled part of her practice to push the most modern processors to their limits.

"The laptop is the most intimate instrument we have at our disposal, engaging and absorbing our confessions and inspirations" says Herndon. "Its influence has both devastated and invigorated music as we know it. We've only just begun unlocking the possibilities at our fingertips. Those possibilities are what I work towards and against."

Incorporating themes of presence and physicality / flux and futurity within said musical expressions and tool set, Movement translates the Avant-Garde into what Herndon fundamentally considers "life practice." Movement opens with the malfunctioning hum and cyborg stutter of "Terminal." "Breathe," a minimalist articulation of data complexity within the human voice, informs the processing of Herndon's own vocal melodies in the syncopated house track "Fade."

The collection’s centerpiece "Movement" is about human-computer symbiosis and musically re-imagines what is perceived as "natural" atop a vigilant acid grind. "Dilato" drifts the live baritone vocal stream of Bruce Rameker through a slight digital process to curious mortal frays.

Herndon's ability to sharp turn from synthetic psychosis to hard-coded human sensuality allows Movement approachability for any listener knowingly or unknowingly seeking technological enlightenment. For those listeners escaping grid integration for holistic antiquity, keep a copy of Movement handy. You'll need the manual for reconfiguration later.

More information here.

Movement

 

6066 Hits

Steve Hauschildt, "Sequitur"

Exactly one year on from his last album, Steve Hauschildt returns with his most commanding work to date. Dense and lush arrangements conjure introspective atmospheres that reveal not only his contribution to the band Emeralds, but his ever-evolving strengths as a solo artist. Recorded in Vancouver and Cleveland, nearly 20 different instruments were culled from the 1960s to the present. This lends the album a much wider palette than its predecessor, Tragedy & Geometry. It is still, however, a logical follow-up to that work as the title Sequitur subtly implies. Because of its rich instrumentation, there are classic yet cutting-edge soundscapes fashioned out of the idiosyncrasies innate to the copious synthesizers, drum machines, and vocal processing used on the album. A substantial work, Hauschildt hones in on the place of voice and androgyny in music.

From Steve Hauschildt: "I was very interested in the artificiality of vocal or choir-like sounds that emulate a person or group singing, and how this has evolved with the advancement of musical technology over the decades. I also sang myself and used a vocoder. This was not to sound robotic or to auto-tune notes, but instead used to remove the connotations of gender inherent in the vocal formants that define how we naturally assign gender qualities to sounds, particularly the human voice. It was interesting to discover that certain replicable sounds become 'androgynous' when they carry both masculine and feminine characteristics. I was inspired to carry this idea into music mainly because of the work of Camille Paglia, Rosalind Picard and Donna Haraway. In a sense, the album treads the imaginary boundary between Nature and Artifice. Of course it is within a postmodern trajectory, but not necessarily a statement on cyborg theory or feminism. Rather, Sequitur is a musical domain where these ideas freely collide and coalesce to form emotive states for the listener."

More information here.

Steve Hauschildt - Sequitur image

6331 Hits

Robert Aiki Aubrey Lowe, "Timon Irnok Manta"

Robert Aiki Aubrey Lowe has been through many shifts in his musical career, from playing with influential Chicago rockers 90 Day Men and forging haunting vocal drones as Lichens all the way to becoming a member of transcendent rockers Om and collaborating with Lucky Dragons and Doug Aitken, and Timon Irnok Manta marks the beginning of a brand new stage in his process. Recorded under his full name and based on fabled British science fiction series "The Tomorrow People," the record establishes Lowe’s format perfectly, with a single mantra-like piece followed by a 'version' in classic dub fashion."‘M'Bondo" follows closely in the footsteps of Lowe's recent slew of highly limited private-press releases, taking tumbling electrified rhythms and setting them up against slowly modulating analogue patterns, gradually building into something even more revenant. A far cry from the maximalist synthesizer music that has come to represent the norm, this is bass-heavy and precariously stripped bare, leaving only skeletons of influence and form.

On "M'Bondo (version)" we are given a closer look into Lowe's wide range of influences as he touches on Aphex Twin's Selected Ambient Works II, early Popul Vuh and Rhythm and Sound in one fell swoop. The basic building blocks of the original track are still present, but graced with Lowe's unmistakable voice and punctuated by warbling tape hiss and chilling echoes. This is a brave step from one of the most compelling voices in experimental music, and the beginning of what promises to be a very rich musical seam.

More information here.

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5718 Hits

Diane Cluck, "fall. tour. songs."

"I recorded these songs with cellist Isabel Castellvi in preparation for our fall tour. Some of them were written as part of my current Song-of-the-Week project. Versions on the EP (with the exception of "Trophies") are different than those released through the project."

“Recording with Travis (engineer) and Isabel was enjoyable, ease-y. We recorded the songs live, meaning we played together in the same room, no overdubs. Each take was subtly different, and we might prefer cello on one and vocals on another…but with live recording we gave up perfectionism and listened for spirit."

--Diane

More information here.

fall. tour. songs. cover art

6020 Hits

Legendary Pink Dots, "Chemical Playschool 15"

The Legendary Pink Dots are back with their highly anticipated new album.

Chemical Playschool is a concept in which more then ever an indulgence in extended ballads and psychedelic improvisations allows Edward Ka-Spel's voice to engage us with his unique brand of storytelling, and the use of synthesizers brings to mind vintage space rock adapted for the modern age.

The album opens with the beautifully epic "Immaculate Conception" where Ka-Spel transports us into a world of stars and planets surrounded by voices and distant echos. In "The Opium Den Parts 1-3" we find a melancholy piece with classic LPD folk essence, arriving then at the ritual tribal ballad "Ranting and Raving."

Chemical Playschool is able to surpass all of our expectations for a band always able to surprise as they lead us through their peculiar dream world. A truly inspired release representing one of the most beautiful concepts created by this eclectic and mythic band.

More information here.

The Legendary Pink Dots. Chemical Playschool 15. CD.

6462 Hits

HTRK/Tropic of Cancer, "Part Time Punks Radio Sessions"

The Part Time Punks Radio Sessions 12" by HTRK and Tropic of Cancer holds six sublime songs of desire.

Comparable to a fly-on-a-wall Peel Sessions, the critically acclaimed Part Time Punks radio show is the sound of the LA underground, run by local icon Michael Stock.

The limited split captures both bands live at the radio headquarters during HTRK's first 2011 tour of the USA, accompanied by comrades in minimalism and melancholia, Tropic of Cancer.

Flipping this vinyl sounds like two sides of the same cursed coin, and mirrors a high school dance playing an endless lustful waltz. BPMs bumped down to a psychic stalk. It's a broken and beautiful memento.

More information here.

5609 Hits

Raime, "Quarter Turns Over a Living Line"

Quarter Turns Over A Living Line is the debut album by Raime.

It follows the duo's self-titled 2010 EP and two subsequent 12" singles, If Anywhere was here we would know where we are and Hennail.

Moving away from the sample-based strategies that characterized their early work, Joe Andrews and Tom Halstead have looked increasingly to live instrumentation for their first full-length, mounting intensive recording sessions for percussion, guitar and strings before painstakingly piecing the album together at their home studio. The gothic and industrial signifiers in their music remain, but more submerged and oblique than ever - no more pronounced as influences than jungle's rhythmic dynamism and doom metal's oppressive weight, or aspects of techno, modern composition and dub.

The 7-track album is due to be released on November 19 on 2x12", CD and digital formats. The cover art is derived from an original photograph by William Oliver, produced in collaboration with Raime and featuring dancer Rosie Terry.

More information here.

6402 Hits

Pete Swanson, "Pro Style"

Since upsetting the techno multiverse with Man With Potential last year, ex-Yellow Swan Pete Swanson has tirelessly continued his exploration of the form, quickly breaking it down and moulding it in his image.  Pro Style is the result of those experiments, and finds Swanson at his most explosive, with his archetypal searing synthesizer blasts directed over warehouse kicks worthy of the Downwards catalogue. This is possibly Swanson's most technoid investigation to date, but any 'mainstream' form is peppered with more than enough failure to put a smile on the faces of unconvinced Yellow Swans fans.  Pro Style is far from Berlin's precise minimalism, instead taking a raw, hands on direction that we haven't heard in the genre for many years. Whether you're in the club or in the basement, Swanson's pounding kicks and (surprisingly) booming basses should keep the apocalypse at bay, for now at least.

More information can be found here.

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5785 Hits

Kevin Drumm, "Crowded"

Noise/drone legend Kevin Drumm has just released a new two-song album featuring contributions from Russell Haswell.

More information is available here.

7845 Hits

Richard Skelton, "Limnology"

LIMNOLOGY {BOOK + MUSIC CD} by Richard Skelton

Corbel Stone Press is excited to announce a major new work by Richard Skelton.

Limnology is a book about rivers, lakes and other inland waterways, comprising a sequence of word-lists, text rivers and myth-poems that explore the rich corpus of water words found in English, the dialect of Cumberland, Icelandic, Anglo-Saxon, Gaelic, Irish, Manx, Welsh and Proto-Celtic.

This 86-page, Royal 8vo book is printed on 135gsm uncoated paper throughout, and is perfect bound with a beautiful, 300gsm uncoated card cover.

Limnology is accompanied by a CD containing a new piece of river music - a single composition that has gradually accrued volume and pace over the past six years, swelling to nearly 30 minutes of vivid, and sometimes violent, intensity.

More information is available here.

 

6054 Hits

Twinsistermoon, "Bogyrealm Vessels"

Twinsistermoon is the solo project of Natural Snow Buildings co-founder Mehdi Ameziane, and is subsequently the benefactor of the massive cult following that NSB has accrued since forming in 1997. With a string of limited releases on a variety of credible labels such as Blackest Rainbow and Digitalis, both Medhi and his counterpart Solange Gularte (who plays as Isengrind and did the full color original art for this Twinsistermoon release), have created an underground phenomenon that continues to craft some of the most forward thinking music in decades. Though impossible to categorize, Bogyrealm Vessels alternates between drone vignettes and Nico-esque psychedelic folk, whilst being threaded together by sci-fi motifs. The result is a landmark work from Twinsistermoon that is sure to be a contender for year-end lists.

More information here.

6346 Hits

Little Annie, "Sing Don't Cry: A Mexican Journey"

Little Annie also known as Annie Anxiety, singer, writer, composer and against all odds, survivor, takes us on a crazy journey to Mexico to find something she lost in New York City - faith.

This is no trip to relax and find the missing 'peace', but a journey that would leave the healthiest person sinking into the golden beaches without a trace.

Paperback

110 pages text and b/w illustrations

Published by Exitstencil Press

 

 

6532 Hits

Matmos, "The Ganzfeld EP"

 

Just in time for its twenty year anniversary as a label, Thrill Jockey Records is pleased to announce that noted electronic duo Matmos has joined the roster, and is about to release the most conceptually elaborate yet weirdly poppy record of their career. The timing is apt, as Matmos members M. C. Schmidt and Drew Daniel will also be celebrating their own twenty year anniversary as musical and romantic partners this fall. To celebrate the occasion, Thrill Jockey will present The Ganzfeld EP in October in advance of the new Matmos album, The Marriage of True Minds, which is forthcoming in early 2013.

The EP and the album have the same conceptual basis: telepathy. For the past four years the band have been conducting parapsychological experiments based upon the classic Ganzfeld ("total field") experiment, but with a twist: instead of sending and receiving simple graphic patterns, test subjects were put into a state of sensory deprivation by covering their eyes and listening to white noise on headphones, and then Matmos member Drew Daniel attempted to transmit "the concept of the new Matmos record" directly into their minds. During videotaped psychic experiments conducted at home in Baltimore and at Oxford University, test subjects were asked to describe out loud anything they saw or heard within their minds as Drew attempted transmission. The resulting transcripts became a kind of score that was then used by Matmos to generate music. If a subject hummed something, that became a melody; passing visual images suggested arrangement ideas, instruments, or raw materials for a collage; if a subject described an action, then the band members had to act out that out and make music out of the noises generated in the process of the re-enactment.

The Ganzfeld EP features two new Matmos tracks that are explicitly based upon psychic session material, and a throbbing minimal techno remix by RRose of the Matmos song "You." Careening from widescreen electronic pop to eerie choral music, the results are eclectic, fun, and disorienting in equal measure.

"Very Large Green Triangles (Edit)" begins with a tiny sung riff which the test subject Ed Schrader seemed to hear in his mind during his psychic session. This riff is paired with a classic Baltimore club beat and orchestral and choral stabs faintly reminiscent of Jerry Goldsmith's soundtrack music for "The Omen." The result is a kind of urban gothic anthem to a primordial geometric image generated during a psychic experiment (please consult the lyric sheet for the full transcript of Ed Schrader's wild and wooly psychedelic vision). Ed was asked to re-sing words and phrases from his psychic transcript, and these vocal snippets are chopped and stacked over a frantic vogue-ball kick drum pattern. This edited version is also the soundtrack to an animated music video currently in production by the Bay Area design and motion graphics company L-inc.

Transforming Matmos' original song into an ominous club-banger, on his remix of "You," RRose, of highly respected esoteric techno imprint Sandwell District, wreathes the whispered vocals of Carly Ptak (Nautical Almanac) in a funereal fog, and turns an amplified rubber band played by Jason Willett (Half Japanese) into a relentless bassline guaranteed to rock a warehouse party at a five am. Since you haven't yet heard the original version of this song, you can consider this remix a precognitive pre-mix.

"Just Waves" pushes in an entirely different direction, layering the voices of Matmos' own M.C. Schmidt and Drew Daniel with three other singers: Dan Deacon (you know who he is), Angel Deradoorian (Dirty Projectors), and Clodagh Simonds (Fovea Hex). Singing the transcripts of psychic experiments in pitched clusters of monotone sprechstimme reminiscent of the avant-garde "tele-operas" of American minimalist composer Robert Ashley, phrases recur and coalesce into a gradually emerging chord progression, supported by warm pulses of organ and synthesizer. Over the course of its nearly thirteen minutes, the sung transcripts move across a bewildering range of emotions, images and moods-- from mystical, to ludicrous, to strangely moving-- as the busy overflow of language consolidates into a single phrase repeated by all five voices in a resolving major chord. Are these people pulling our leg? What is the concept that stands at the origin of this experiment? The band's members aren't saying, but "Just Waves" offers a beguilingly complete vision all its own, exclusive to the EP.

More information is available here.

 

6535 Hits

Aaron Dilloway/Jason Lescalleet, "Grapes and Snakes"

Grapes and Snakes is the first collaborative work of two of the most respected American underground experimental/noise artists, Aaron Dilloway and Jason Lescalleet. Using purely analog synths and tape manipulation, they build a foggy psychoacoustic mass that lies between dynamic yet patiently treated tape-music and industrial howl.

Jason Lescalleet's sound world occupies a space between noise, contemporary composition, and minimal electronics. Using decidedly primitive tactics and equipment (e.g. antiquated reel-to-reel recorders, damaged tape, etc.), his work focuses on extreme frequencies and microscopic audio detail. He's been a member of Due Process, performed and recorded with Keith Rowe, Joe Colley, Jason Kahn, John Hudak, Bhob Rainey and Greg Kelley (both separately and as Nmperign), and most recently Graham Lambkin in their Breadwinner project which has yielded unprecedented and glorious results in the electroacoustic music of today. He lives and works in the state of Maine.

Phenomenal live performer and recording artist, Aaron Dilloway utilizes magnetic tape, synths, contact mic growls, and various other electronics and evocative sounds to create experimental noise and electronic sets that tend to start with a slow burn and build to mindmelting climaxes of intense energy and catharsis. A very physical and versatile performer who has shared the stage and collaborated with a who's who in noise and experimental electronic sound, audiences tend to walk away from Aaron's sets completely dumbfounded. He is a former member of the band Wolf Eyes, and currently also works with his solo modular synth project Spine Scavenger and an ever-changing cast of sound artists under the name The Nevari Butchers.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and it is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve.

More information is available here.

6541 Hits