"Who is David Tibet?" documentary

Image result for who is david tibet film

WHO IS DAVID TIBET?: A FILM BY TONY REYES

Filmed and created by the wonderful Tony Reyes, WHO IS DAVID TIBET? documents the installation of my work, and the preview OpeningNight itself, at my ArtShow INVOCATION OF ALMOST, lovingly and perfectly installed and curated by that inspired couple Jacqueline Bunge and Shaun Richards at the Begovich Gallery on March 5, 2019.  It includes interviews with David, Jacqueline, Shaun, and many other friends and felines.

The film can be streamed for free here.

4516 Hits

Various Artists, "Eilean 100"

Date : 28.12.17
Map point : eilean 100
Color : white / grey
Season : winter
Edition : limited to 175 copies
_________________________________________________

This is the final Eilean rec. release which closes both the map and the project with all the artists involved since the beginning, during these last 5 years.

109 artists / 82 tracks / 6 hours of sounds.
61 unreleased and new tracks / 21 tracks from back catalogs (16 from Eilean rec. + 6 from some other labels)

More information can be found here.

3605 Hits

Joseph Allred, "Traveler"

Welcome to the second album we’ve done with string maestro, Joseph Allred. Unlike O Meadowlark (FTR 451), this one features a smattering of Joseph's vocals, although his main thrust is still glistening instrumentals.

The title song is a goddamn sad one, sung with reedy elegance, dealing with a kidnapped dog that serves as a stand-in for all earthly beings, full of both frailty and resilience. Another vocal track, "The Crown" (which inspired the cover art), stems from a long conversation Joseph had with Max Ochs.  It squeezes the inherently surreal aspects of dream-walking into semi-conventional blues tautology, and the fit is just right.  The third and last vocal, "O Columbia," is a particular favorite, based as it is upon the some of the same melodies Fahey swiped for "In Christ There Is No East or West," although Allred takes things in all new directions.  I had been a tad leery when I heard Joseph would be singing on this new session — being so enamored of his unadorned instrumental technique — but these tunes won me over in the course of a few plays.  Maybe there'll be more verbal-content in his future?  We would not say "no."

But the meat of this album remains Joseph’s splendid inventions for guitar and banjo.  His piece for Glenn Jones, "The Giant Who Shrank Himself," is a beautiful suite, worthy of its concept (that Jones is a behemoth who has to shrink himself in order to deal with us normals).  It flows like the sweetest stream of wine you, I or anyone might imagine.  "Single Me a Stranger" is another literal killer, with sliding chords evoking the 1872 lynching and curse-fulfillment of an unlucky newcomer in the small Tennessee town where Allred grew up.  It's spell-binding.  As is "Mark’s Overture," a banjo piece inspired by by a homeless music critic in Cambridge, Mass.

Another top-notch album by this great player. If you don’t know Allred already, you will soon.

-Byron Coley, 2019

More information can be found here.

3660 Hits

Jonnine, "Super Natural" EP (HTRK)

Super Natural is a spell spun by the inner guides: sometimes they have your best interests in mind but other times....you're wanting it to go this way...

Jonnine's songs swim in part-spoken, part-sung suspension, sophisticated wordplay amid languorous instruments and devotional invocations with allegorical weight.  Written and produced by Jonnine and co-produced by Nathan Corbin (Excepter, Blazer Sound System, Psychic 9-5 Club), Super Natural was conceived as a soundtrack to the surreal Venice-set feature film the two are destined to one day make together, a testament to eight years of friendship and musical / visual collaboration.  Super Natural has a chimeric quality – fleeting and, like any good thriller, pulsing with potential but paced with restraint (as Jonnine says, "it's what you don’t see that keeps you imagining").

Jonnine's first solitary offering carries the refinement of her work in the Australian band HTRK.  With this EP, a creative block was overcome after years of being urged by her therapist to forge a solo musical identity. It began with a first attempt to play her brother's broken stringed guitar, unused since 2001, and became these four songs.

Starless and clandestine, the spoken-word delivery of "You're Wanting It To Go This Way" is streaked with discordant guitar, tripped rhythm and sanguine, fluttering melodic ornament. A rapt rendering of self-sabotage, but patient and alluring, this introduction is reminiscent of Leslie Winer's Witch.

"I Don't Seem Myself Tonight" confesses ethereal harmonies with waveless vocals, earthy strums and keyboard sceneries (in Sceneries Not Songs likeness).  A tribute to love at first sight as a little death.  Subconscious gong in whale tones from Mona Ruijs (Sound Interventions).

The penultimate "You Can Leave The Vampires" is fettered by guitar from HTRK bandmate Nigel Yang against a moody, cautionary libretto.  This collaboration yields ritualistic results as the object of the spell is appealed to break with an addictive game of chance by the overlapping mantras "If I can leave you / you can leave too" and "Please, you can be free"
The playful "Scorpio Rises Again" simmers with Audrey Horne cheek; bass guitar, finger clicks and a whistle from Conrad Standish (CS + Kreme) in beguiling denouement.

With stories unlocked by the interior dreaming of Super Natural, Jonnine and Nigel's collaboration as HTRK opened up and new material (their 2019 album, Venus in Leo) sprang forth immediately after.  The inner guides may delude when kept quiet: their expression is a way towards healing, even their most haunted song.

More information can be found here.

3643 Hits

Analog Africa Presents "Mogadisco: Dancing Mogadishu, 1974–1991"

After being blown away by a few tunes – probably just as you will be after listening to this - Samy Ben Redjeb traveled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu.
On his arrival in Somalia, Samy began rifling through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that "swam against the current."

The stars were aligned: an uncovered and unmarked pile of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu's archives - clarified that the pile consisted mostly of music nobody had manage to identify, or music he described as being "mainly instrumental and strange music." At the words "strange music," Samy was hooked, the return flight to Tunisia was cancelled.

The pile turned out to be a cornucopia of different sounds: radio jingles, background music, interludes for radio programs, television shows and theater plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop. Over the next three weeks, often in watermelon, grapefruit juice and shisha-fuelled night-time sessions behind the fortified walls of Radio Mogadishu, Samy and the archive staff put together Mogadisco: Dancing Mogadishu, 1974–1991.

Like everywhere in Africa during the 1970s, both men and women sported huge afros, bell-bottom trousers and platform shoes. James Brown, Stevie Wonder, Marvin Gaye and The Temptations' funk were the talk of the town.

In 1977, Iftin Band were invited to perform at the Festac festival in Lagos where they represented Somalia at the Second World Black and African Festival of Arts and Culture. Not only did they come back with an award but they also returned with Afrobeat. While Fela Kuti's "Shakara" had taken over the continent and was spreading like wildfire throughout Latin America, it was the track "Lady" that would become the hit in Mogadishu.

At the same time, Bob Marley was busy kick-starting reggae-mania in Somalia, which became such a phenomenon that even the police and military bands began playing it. Some say that it was adopted so quickly because of the strong similarities with the traditional beat from the western region of Somalia, called Dhaanto.

But then suddenly the trousers got tighter as the disco tsunami hit the country. Michael Jackson appeared with a new sound that would revolutionize Somalia's live music scene. You couldn't walk the streets of Mogadishu without seeing kids trying to moonwalk.

"Somalia had several nightclubs and although most use DJs to play records, some hotels like Jubba, Al-Uruba and Al Jazeera showcased live bands such as Iftin and Shareero" - so ran a quote from a 1981 article about the explosion of Mogadishu's live music scene. The venues mentioned in that article were the luxury hotels that had been built to cover the growing demands of the tourist industry. The state-of-the-art hotel Al-Uruba, with its oriental ornaments and white plastered walls, was a wonder of modern architecture. All of Mogadishu's top bands performed there at some point or another, and many of the songs presented in this compilation were created in such venues.

Mogadisco was not Analog Africa's easiest project. Tracking down the musicians - often in exile in the diaspora - to interview them and gather anecdotes of golden-era Mogadishu has been an undertaking that took three years. Tales of Dur-Dur Band's kidnapping, movie soundtracks recorded in the basements of hotels, musicians getting electrocuted on stage, others jumping from one band to another under dramatic circumstances, and soul singers competing against each other, are all stories included in the massive booklet that accompanies the compilation - adorned with no less then 18 pictures from the '70s and '80s.

As Colonel Abshir Hashi Ali, chief don at the Radio Mogadishu archive - someone who once wrestled a bomber wielding an unpinned hand-grenade to the floor - put it: "I have dedicated my life to this place. I'm doing this so it can get to the next generation; so that the culture, the heritage and the songs of Somalia don't disappear."

More information can be found here.

3810 Hits

Cindy Lee, "What's Tonight To Eternity"

For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. "Singers like Patsy Cline and The Supremes carried me through the hardest times of my life," explains Flegel, "and also provided the soundtrack to the best times."

Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies – a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder.

What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide.

Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer / drummer's early recordings as well as her look and style. "I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown."

What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song "Heavy Metal" (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.

More information can be found here.

3769 Hits

Viul, "Outside the Dream World"

The aural illustration of a year of bliss, sorrow, and stasis, NYC bedroom-ambient wanderer Viul follows last spring's Bright Decline (Disques d'Honoré, 2019) with thirteen new pieces weaving delicate hints of vocals, synthesizer, tape texture and field recording into his foundational guitar loops. On Outside the Dream World, his debut full-length for emerging ambient curator Past Inside the Present, Viul quickly coaxes unlikely melodies to the fore: "Sur Canadian TV" builds ominously from the residue of orchestral tune-up collage "Spring Mash," while the gauze of the title track momentarily disguises a sinewy pop arrangement before ceding to the frigid, expansive "Sewn." The record's second side hosts a study in contrasts embodied by the dense swirl of "Spacefuck Symmetry Endpoint" against the near-motionless finale "Shroud." Mastered at Black Knoll Studio by Rafael Anton Irisarri and featuring cover photography by Benoît Pioulard, Outside the Dream World is a vivid addition to PITP's growing catalogue of ambient serenity.

More information can be found here.

4030 Hits

Kink Gong & Li Daiguo, "Dali China"

The prolific Kink Gong (aka Laurent Jeanneau) returns in a unique duet with one of the most prominent artists of the Chinese avantgardist scene Li Daiguo. Kink Gong and Li Daiguo first met in Chengdu (capital of Sichuan Province, China) while playing the same night at the Jahbar music venue.

A few months later, as they become neighbors in Cai Cun, a village near the old town of Dali (Yunnan), Kink Gong begins recording Daiguo playing Pipa, Cello and Zheng. He then proceeded to deconstruct these recordings while adding voices that he mainly recorded in Yunnan Province. This fantastic combination of field recordings, experimental folk melodies and electronic treatment leads us to a fourth underground universe reminiscent of Jon Hassell's finest hours.

More information can be found here.

3372 Hits

Celer, "Future Predictions" boxed set

Future Predictions is a set of ensemble pieces made with tape loops, from digital and acoustic instruments, field recordings and foley sounds. With a focus on introspection and imagination, each piece begins with all layers playing, with minimal additional long-term structural development in order to maintain a state. Each piece of music is accompanied by photos, and text written with a shifting tense.

As a follow-up to 2018's Memory Repetitions which was based on memory and the interpretation of it over time, Future Predictions is instead based on the idea of future situations, and should be seen as a meditation on future events.

All music was recorded with high-quality recycled reel-to-reel tape. It has been mastered by Stephan Mathieu at Schwebung, and designed by Rutger Zuydervelt.

Limited edition, custom-made clamshell box, 4xCDs in pocket sleeves, and 16-page booklet. Digital version includes PDF booklet.

More information can be found here.

4065 Hits

Scorn, "Cafe Mor"

The first LP from Scorn since 2010's Refuse; Start Fires, Cafe Mor is Mick Harris in his happy place.  Which just happens to be in studio, demolishing all standards and rules for electronic bass music, and embodying the darkest, deepest sound in dub.  Cafe Mor takes risks outside of the conventional Scorn apparatus and with these risks come substantial rewards.

The album is comprised of powerful dub excursions, from the deep dark dank of the front two tracks "Elephant" and "The Lower The Middle Our Bit," and gaining steam towards the ultraviolence of "Mugwump Tea Room" to "Never Let It Be Said" to the CRUSHING DEATH KICK of "Who Are They Which One."  A quick drive under the lights with a lasered out snare on "Dulse," then we come across the appearance from Sleaford Mods frontman, Jason Williamson, on the standout track on the LP, "Talk Whiff." 

Cafe Mor culminates in the all-in-one dub affair "SA70," letting rip all the new mixer and FX techniques of Harris' most recent incarnation of Scorn. The album is the official soundtrack for all smoked-out backroom deals, situations and arrangements, cancelling all small tours, and mongoose rhinocharging the bass to level 24.

More information can be found here.

4056 Hits

Raime, "Planted"

2 raime planted flatimage

"Raime strain at the harness in four cuttingly sharp mutations of Afrobeats, Footwork, and Jungle with scintillating results on the 2nd release on their RR imprint.

Where the London duo’s 2018 EP and RR debut We Can't Be That Far From The Beginning evoked a meditative mood from the info overload of their home city that left acres of space to the imagination, the Planted EP rejoins the dance with four tracks that icily acknowledge strong influence from Latin American and Chicago footwork styles in a classically skooled mutation of hardcore British dance music.

In four fleetingly ambiguous dancefloor workouts they carry on a conceptual theme exploring the digital subconscious with persistently invasive, alien ambient shrapnel - half-heard voices, aleatoric prangs, and tag-covered signposts - woven into and thru their tightly coiled and reflexive drum programming.

Uptown, "Num" flexes tendons and hips like a Leonce riddim that danced all the way from NOLA and ATL to the wintery dawn of a LDN warehouse, while the lip-biting tension of minimalist 160bpm jungle/footwork patterns and jibber-jawed vocals in "Ripli" suggests the Alien film's protagonist lost in a mazy rave space, chased by H.R. Giger-designed face huggers (or gurning energy vampires).  Downtown "Kella" then catches them on a grimy dubtech bounce, cocked back and straining at the harness, before "Belly" shuts down the dance with invasive, demonic motifs exploding over dark blue chords and palpitating jungle subs with impeccable darkside style."

-via Boomkat

2992 Hits

My Cat is an Alien/Jean-Marc Montera/Lee Ranaldo, "MCIAA XX Anniversary"

On September 12, 2018 Sonic Youth co-founder Lee Ranaldo and guitarist extraordinaire Jean-Marc Montera joined Maurizio and Roberto Opalio in their hometown Torino, Italy, to celebrate the 20th anniversary of the brothers' visionary project My Cat Is An Alien. That evening the stage of Alfa Teatro—a liberty-style, historical theater built in 1928—hosted the live world premiere of this quartet, whose members already collaborated live and on records with each other during the years, yet never all the four together. The quartet live performance followed MCIAA's radical aesthetic of "instantaneous composition," where nothing is defined nor drafted prior to the act of music creation, and every sound and action is shaped around a higher-order scheme dictated by the empathy and synergy of the actual moment of enlightenment. The show was also accompanied by the projection of a brand new cinematic poetry dual film created by Roberto Opalio and previewed on the occasion, whose Super-8 film's relentless flickering and ascending motion worked "ad hoc" to match the music and body gestures of the performance, thus enhancing its transcendental power.

That night Maurizio Opalio (self-made double-bodied wooden string instrument, pedal effects, bell), Roberto Opalio (wordless vocalizations, bodhran, Alientronics, electric guitar, space toys), Jean-Marc Montera (table top guitar, pedals, little gong), and Lee Ranaldo (vocals, electric guitar, bells) moved through still unexplored and unheard music territories.

This music is a pure ecstatic revelation, a unique, powerful and spiritual experience all of its own. Listening to this album we are offered a true epiphany just as uniquely gifted genius improvisers/composers of the past would grace our ears and souls.

More information can be found here.

3446 Hits

Andrew Pekler, "Sounds From Phantom Islands"

Faitiche is delighted to present a new album by Andrew Pekler.  Sounds From Phantom Islands brings together ten tracks created over the last three years for the interactive website Phantom Islands - A Sonic Atlas.  With his 2016 album Tristes Tropiques, Pekler created a highly unique cosmos of ethnographic sound speculations.  Sounds From Phantom Islands continues and simultaneously expands this concept: finely elaborated chordal motifs float like fog over fictional maritime landscapes.  A masterpiece of contemporary Exotica.

Phantom islands are islands that appeared on historical maps but never actually existed.  The status of these artefacts of European colonial expansion from the 15th to the 19th century oscillates between cartographic fact and maritime fiction.  Sounds From Phantom Islands interprets and presents these imaginations as a quasi-ethnographic catalog of music and synthetic field recordings.  The pieces on this album are based on recordings made for Phantom Islands - A Sonic Atlas, an online interactive map developed with cultural anthropologist Stefanie Kiwi Menrath.

More information can be found here.

3254 Hits

Nurse With Wound, "Trippin' Music"

Trippin’ Musik by Nurse With Wound

"Steven Stapleton;s iconoclastic Nurse With Wound project now enters its fifth decade, marked with this lavish boxed set of all-new music titled Trippin' Musik.  Consisting of three vinyls in dayglo orange, yellow and green, the collection comes with no tracklisting and no indication of what order in which the listener ought to listen to it."

-via Norman Records

Tentatively out November 29th on United Dirter.

 

5821 Hits

Jim O'Rourke, "To Magnetize Money and Catch a Roving Eye" boxed set

To Magnetize Money And Catch A Roving Eye by Jim O'Rourke

A 4-hour work recorded at Steamroom (O'Rourke's studio) between 2017 and 2018.

Detailed and delicate electronic layers, processed instruments, and ambiguous field recordings come together in a slow-moving, fascinating kaleidoscope with multiple reflections and wrong turns, always in constant state of flux. The finely crafted art of subterfuge.

To Magnetize Money and Catch a Roving Eye: four CDs – a hypnotic, multi-faceted, labyrinthine piece which flows as slowly as a river while speeding back through memory, and shows all the talent of Jim O'Rourke.

More information can be found here.

4694 Hits

Bill Fay, "Countless Branches"

Fifty years after his debut release, Bill Fay – one of Britain's most enigmatic and celebrated singer-songwriters – returns with a new album, Countless Branches. Countless Branches will be released January 17th on CD, LP and Deluxe 2xLP, featuring artwork by Benjamin A Vierling.

Sounding more sparse and succinct than his previous records, Countless Branches collects compositions drawn from the trove of material Fay has amassed over 40 years. Unfinished songs emerge with newly written words and melodies on Fay's recurring themes – nature, the family of man, the cycle of life and the ineffable vastness of it all – as if they had been lying in wait to find their place in our current zeitgeist. The resulting ten songs are as pointed and poignant as anything he has ever recorded.

His third release for the label, alike previous acclaimed recordings Life Is People (2012) and Who Is The Sender? (2015), was produced by Joshua Henry – with the cast list slimmed down from previous sessions. Guitarist Matt Deighton remains as Fay's trusted MD and the musicians have mostly all played on Fay's albums in the past. But both Henry and Fay thought that, this time, there should be more of Bill on his own at the piano, or with minimal accompaniment.

It's at the piano, alongside some rudimentary home recording equipment, where Bill has been composing music in the intervening decades between his first and most-recent album at every chance he could get. His newest material retains the awestruck, inquisitive feel of those early songs. They often evoke landscapes, ancient and sacred places, as their author traverses the outdoors to marvel at it all. And he is doing it all from that corner of his room at the piano, while the word about his work continues to grow and spread like so many branches. For decades now, Bill Fay's songs have been his ambassadors.
While still reluctant to play live or make public appearances, Fay's resolve and his purity shine through the work and make him a special artist, finding his wider world from that corner of the room – and long may he continue to do so.

More information can be found here.

9627 Hits

Cam Deas, "Mechanosphere"

"Mechanosphere is Cam Deas' abstract yet poignant second album exploring ideas of rhythmic dissonance and head-spinning proprioceptions for The Death of Rave. Following directly from his cultishly-acclaimed mini-LP Time Exercises, which was surprisingly deployed in Richie Hawtin's recent "CLOSE COMBINED - LIVE" mix and hailed as "Holy F#ck-What is This?!?" by Brainwashed, his new album applies rich polychromatic colour to his signature rhythmic constructions with a greatly heightened emotive traction and broader appeal while only going deeper on his radical ideas about the fundamentals of sound and composition. Big recommendation if you're into Autechre, Xenakis, Ligeti, Rashad Becker.

Using a computer-controlled modular synth, Cam takes the simple idea of layering pitches in multiple tempi to Nth degrees, resulting in a sensational and warped sense of temporality and gravity-defying physics. Effectively placing pitch on a scale in a similar way to Conlon Nancarrow's player-piano programming or even Ligeti's famous metronome experiment, Cam explores solutions to the problem of grid-locked linearity, or at least perceptions of it, by effectively ripping the rug from under electronic music convention to make his music appear as though in perpetual freefall, or a process of omnidirectional contraction/expansion that never quite resolves - always the same, ever different.

In Mechanosphere listeners effectively navigate through the music by a loose means of pattern recognition, picking out accentuated kicks and hits that pierce thru Cam's incredibly dense swells of endless metallic tone. But where his Time Exercises LP was unreservedly abstract and emotive in an alien sense, his follow-up practically sounds as though aliens have developed a form of 3D midi folk-jazz or court music for bacchanals and spiritual reasons.

From the vertiginous scale of "Ascension," thru the the jaw-dropping hyper stepper "Slip," to the controlled chaos of "Reflect, Deflect," and ultimately the deeply solemn yet discordantly lush finale of shearing metallic pitches in "Solitude," Cam offers an often shocking and ever fascinating grasp of electronic music’s potential to relate hard-to-communicate but intuitively felt ideas to the body and emotions.  It's a sober but incredibly wondrous sound, and only confirms that Cam's seismic stylistic transition this decade from preeminent, post-Takoma 12-string guitar player to visionary synthesist was certainly worthwhile."

-via Boomkat

Out now on The Death of Rave.

4360 Hits

Andy Stott, "It Should be Us"

It Should Be Us by Andy Stott

"Andy Stott's first release since 2016 and first EP since 2011, It Should Be Us is a double EP of slow and raw productions for the club, recorded this year and following on from a series of EPs that started with Passed Me By and We Stay Together early this decade.

Recorded fast and loose over the summer, these 9 tracks (8 on the vinyl) harness a pure and bare-boned energy, melodies subsumed by drum machines and synths; slow, rugged abandon. It is all about rhythmic heat and disorientation, pure dance and DJ specials rendered at an unsteady pace, from percolated house and percussive rituals to moody tripped-out burners.

There will be a new Andy Stott album in 2020, but in the meantime... this one’s for dancing."

-via Boomkat

Out now on Modern Love.

4514 Hits

Vulpiano Records Presents "Ten-Year Anniversary" (Natural Snow Buildings)

Netlabel Vulpiano Records is celebrating its 10th anniversary with a cassette tape compilation as a benefit for nonprofit digital library Internet Archive (archive.org).  Limited to 100 copies and featuring exclusive and favorite tracks from the label's international roster of artists from Australia, England, France, Italy, Japan, Portugal, Russia, Spain, and the USA.  Each cassette is hand-numbered and comes with either a holographic tarot card (78 copies) or an Artist Trading Card collage on a playing card (22 copies), selected randomly.  The genre-spanning release celebrates the musically diverse and collaborative spirit of the long-running label with selections in drone, folk, electronic, and more.

For a label founded on a Creative Commons ethos, Internet Archive has long been an indispensable host for Vulpiano: a place for our artists' work to be free to download, share, copy and redistribute.

The tape features drone / folk duo Natural Snow Buildings' first track since the 2016 release of Aldebaran: "Charles Thomas Tester". (Cassette exclusive)

Vulpiano Records logo art by Solange Gularte of Natural Snow Buildings.

Album layout and logo edit by Marilyn Roxie.

Playing card collages by Dan Shea and Marilyn Roxie.

More information can be found here.

4354 Hits

Ohio, "Upward, Broken, Always" (Taylor Deupree/Corey Fuller)

As you lay on your back in the deep grass on a shadowy late-summer afternoon…tracing the outlines of patterns on the inside of your eyelids illuminated in translucense beneath the sun….ruminating, drifting in and out of sleep. Your dreams flirt with the irrational fears of the dark, of being left alone, of infinity…of being lost in corn fields reaching taller than the sky, of the comfort of feet dangling in a cold lake and splinters from running on a sun-dried summer dock. The world once felt new and alive…now through a haze, lost from the opacity of time.

Ohio is a new project from of 12k founder Taylor Deupree and long-time label-mate and collaborator Corey Fuller. The genesis of Ohio, besides the desire to work on a full album together, was them realizing they were both born in the US state of Ohio, not far from each other, and spent their earlier years crafting young memories there before moving away. This ended up being a simple, but interesting point of departure for the project because these early, hazy memories provided compelling conceptual roadmaps for the album as well as become inspiration for the song titles.

With no lack of irony the project started with a playful cover of singer/songwriter Damien Jurado's "Ohio." Deeply loved by both Deupree and Fuller, covering this song liberated them from working in their traditional "ambient" comfort-zone, challenging them with new structures and new directions. Their version of "Ohio" slowed the song down and explored acoustic and electric guitars, vocals, harmonies, pop-centric song structure, field recordings and a plethora of subtle studio fun (the looped clicking motor of a Roland RE-201 Space Echo being used as a "hi-hat" of sorts) and layers.

The project expanded from there and moved gradually as they very much felt working in the same physical space was important to its core. Writing, overdubbing, mixing and editing continued as the two found time to make the journeys between Tokyo and New York to share a studio. Each visit the songs would become more refined and be pushed into new and unexpected directions. A cathartic intensity found its way into the music echoing the intensity of life but at the same time remaining grounded.

The four years spent creating Upward, Broken, Always resulted in an album that engages the dichotomy between ambience and intensity. The hazy reworking of Jurado's "Ohio," or the duet for acoustic guitars recorded in the woods outside of Deupree's studio contrasts with the surprising, beautifully intense swells of overdriven guitar. Faraway drums and Fuller's ghostly vocals further expand the sonic image.

During one of their final editing sessions, with the accidental muting of musical tracks, the interludes at the end of each LP side were born. Fragments of preceding songs, stripped to a ghostly minimum like those distant Ohio memories.

Upward, Broken, Always is released in online formats and as a limited edition of 125 double 12” LPs. The LP art features an aerial photograph of the state of Ohio as well as the barn from Deupree's childhood home inside the gatefold jacket. There are 3 sides of audio on the release with Side D of the 2nd record being a full-side graphical etching of a topographical map.

More information can be found here.

4069 Hits