artist: Rameses III
title:Honey Rose
catalog #: IMPREC121
format: cd ep
upc:793447512624
release date: Feb 27, 2007

Rameses III are architects of the most beautiful swathes of blissful ambience whose releases have previously found homes on labels like Celebrate Psi Phenomenon, Music Fellowship, Scarcelight, MYMWLY, Barl Fire and Type.

On “Honey Rose”, the group’s first release for Important, the South London trio build a bucolic soundtrack to Jon Spira’s mysterious short film “Suityman”. Whilst the influence of Bruce Langhorne, Boxhead Ensemble and much of the 4AD roster can be keenly felt on this six song EP, so too can the wondrous drone narratives that are such a feature of Rameses III’s previous works. More structured and melodious then much of their output, “Honey Rose” is the perfect place for a newcomer to begin exploring the music of one of the finest purveyors of ambient drone operating in music today.

"Intitially we wanted to bring Xenakis and Techno together......well, in the end it sounded really different...."

With some irony Gina Hell from the female duo Rashim states what has led to their surprisingly fresh and unconventional debut.

'Suns.Shadows' is the result of a longtime cooperation with Yasmina Haddad as Rashim, a relationship which started with dee-jaying and works for video artists or fashion designers. The album delivers more than a handful of ideas for those who have been looking after analogue warmth and tricky rhythms. Snippets of acoustic guitars built up a steady pattern, a jazz kit merges with a drum-synth, or a repeated stroke on something like a cello could keep you tapping on your table while you listen to a piano chord or a vocal phrase. Rashim´s cosm is definitely eclectic regarding its source material ­ pop culture can meet an orchestral drum solo - but the music is always coherent in its results. Maybe this is because of the duo´s convincing and conscious handling with instruments, sounds and samples, but more likely it is their intuitive approach and the focus on rhythm, a basic and still vivid expression.
(mosz 2006)

1: lost
2: kunstkomplex
3: sheman
4: you're not past man, you are tradition
5: it's worth it
6: yes, xenakis
7: shines   
8: for the cat   
9: blueblackgold   
10: drawn   
11: total eclipse  

THE ONE ENSEMBLE
The One Ensemble is a quartet from Glasgow, Scotland. Originally a solo recording project of Daniel Padden, two albums were released as ‘The One Ensemble Of Daniel Padden’ - a self-titled CD on Catsup Plate, and 'The Owl Of Fives' on Textile. After that the Ensemble became a live band and released 'Live At VPRO Radio' on Brainwashed. The band is now simply The One Ensemble. Daniel Padden is a member of Volcano The Bear. Aby Vulliamy and Chris Hladowski are members of Nalle.

Karen Dalton
In My Own Time (CD & LP)

(Originally Released 1971)

CD Available Now
180gram LP Available Late Nov

1.) Something on Your Mind
2.) When A Man Loves A Woman
3.) In My Own Dream
4.) Katie Cruel - FULL MP3
5.) How Sweet It Is
6.) In A Station
7.) Take Me
8.) Same Old Man
9.) One Night Of Love
10.) Are You Leaving For The Country

Download MP3! Karen Dalton - Katie Cruel

Light In The Attic
Records & Distribution
www.lightintheattic.net
P.O. Box 31970
Seattle, WA 98103

Tor Lundvall
YULE

Tor Lundvall Announces a "Ghost Ambient" Release for the Yule Season

artist: Deerhunter
title: Cryptograms
catalog #: krank104
formats available: CD   
CD UPC Code: 7 96441 81042 0
Release Date: January 29, 2007

Content: Cryptograms is the second full-length offering from Deerhunter, and their first for Kranky. The album took almost two years to finish and was the product of emotional, physical, and financial strain on the group. The result is an album that finds the band shifting from discordant catharsis, and forming a sonic identity that completely expresses the place from which they have arrived. The album functions in part as a study in duality and the concept of the same experiences seen from two angles, present and past. The most obvious manifestation of this is in the chronological sequencing. The first half of the album was recorded first unsuccessfully in 2005. These recordings were a blur at best, wordless and bordering on psychological atrophy. The sessions failed to provide anything tangible, and were racked with technical and personal problems, including out-of-tune pianos, panic attacks, and a tape machine that seemed to fail to capture the full spectrum of ambience the band was exploring. The band returned home, having failed, and considered giving up. The idea arose to give it one last shot and exactly one year from the date of the recording of their first self-titled LP at a small studio in rural GA, they returned to that same studio and plugged in. The session resulted in the first half of the record which was recorded in one day and completely filled the reel of tape they brought with them. Cryptograms’ first side begins with an introduction leading to the title track, and ends with the tape literally spinning off the end of the reel in the middle of a drone layered with bells and accordion (“Red Ink”). The second half of the record, also recorded in one day, in the November of 2005, represents the band in an entirely different state. “Spring Hall Convert” opens with the line, “…so I woke up…” and introduces a set of focused psyche-pop songs fixating on adolescence, illness, and failing connections.

Context: Deerhunter began in 2001 with the ambition of fusing the lulling hypnotic states induced by ambient and minimalist music with the klang and propulsion of garage rock. The band has weathered chaotic line-up changes, the death of a member, and much discouragement. Their live performances almost always leave audiences polarized, and have been referred to by Karen O of the yeah yeah yeah’s in NME as bordering on “a religious experience.” They are based in Atlanta.
Track Listing: 1. Intro  2. Cryptograms  3. White Ink  4. Lake Somerset  5. Providence  6. Octet  7. Red Ink  8. Spring Hall Convert  9. Strange Lights 10. Hazel St.  11. Tape Hiss Orchid  12. Heatherwood

Quote: "…a massive, psych-heavy, art-damaged five-piece, and one of the most inspired new bands we've heard in quite a while. Deerhunter's forthcoming Kranky debut -- not to mention their absolutely fucking insane live shows-- is likely to make them one of the most talked-about bands of 2007." Pitchfork 10.23.06

KOREA SOUNDBLASTER
GEISHA POP FARM

DOM EK 020 CD

Busan is burning, sushi-monsters roar for food in the distance…Welcome home!

This music has mutated directly from the fires of hell and if you choose to

step inside the secret world of Korea's most enigmatic noise-geishas, you will be

drowned into their catastrophic debacles of sound.

Cataclysmic laughter.

In exactly 33 minutes and 33 seconds your universe will be reduced to

a few grains of dust.

ELISABETH WURST
IM NAMEN DER KLEINKUNST
DOM EK 026 3"CD (limited edition of 100 copies)

Elisabeth went home to look up information on piano tuners' lives in the 1970s and found nothing.

Dieter said, there was plenty of information on the design and construction of Super 8 equipment,

but there was little on people tuning the piano.

Some are married with children, living out in the suburbs. Some are dead.

Then Elfriede came for a visit and things fell into place, but Bauknecht was struck

by a hit-and-run driver on his way home to Café UFO one evening In 1977.

Also available from DOM EK:

date - Nov 14th
artist - MAJU
title - Maju-4
cat # - XCD-055
format - CD
label - EXTREME
country - Australia
 

Maju-4 embodies a deep organic interaction that is almost retro-ambient in its approach, carving out a psychotropic quasi-analogue adventure that engages the subconscious and unconscious with compelling clarity. Maju-4 is now, more than ever, Sakana and Narita. Their distinct voice as Maju has now matured into a force that few can follow. They have allowed the ghost in the machine to speak and its voice is powerful and pure. Maju-4 doesn’t provide any excuses, instead it launches into the deep cocoon like sound that they have only toyed with on previous releases. This is a celebration of a united musical vision that does not need to or want to compromise. Hosomi Sakana, having left the stardom of Elephant Kashimashi, has quite rightly never been prepared to compromise. Elephant Kashimashi was a band that achieved legendary status by becoming successful for making music they believed in and, by its own accord, allowing it to connect with the hearts of Japanese people of all ages. This was no small effort, in light of the flood of J-Pop and saccharine music that pervades the Japanese music industry. He currently works with Akino Arai, famous for singing theme songs for major anime productions such as Outlaw Star, Noir, Macross Plus and Dragon Quest. Masaki Narita is also behind the workings of many Japanese musicians with his production and musical talents. To have two such talented and visionary musicians creating music together is a blessing and a joy to behold. Maju-4 is like a stream of consciousness and it never asks for approval or offers excuses. If Carl Jung had made music, it would have sounded like Maju.

date - Nov 14th
artist - Mr Geoffrey & JD Franzke
title - Get a Room
cat # - XLTD-006
format - CD
label - EXTREME
country - Australia

Get a Room, the audacious and engaging ‘mixscape’ of found sounds and music through the ages by Australian artists MR GEOFFREY & JD FRANZKE. Their backgrounds, DJ and sound designer respectively, make for a wonderful combination that can only be labeled a ‘Mixscape’. “Get a Room” is the perfect album for twenty-four hour rotation or driving through the night.

EXTREME www.xtr.com

date - January 16th 2007
artist - Claudio Parodi
title - Horizontal Mover (homage to Alvin Lucier)
cat # - XCD-056
format - CD
label - EXTREME
country - Australia

Few musicians have the opportunity to pay homage to their musical idol, much less send them a recording and receive a reply. CLAUDIO PARODI did just this, sending “Horizontal Mover” to Alvin Lucier. The response was nothing short of overwhelming – “I find it absolutely beautiful”.

This shows the humility of Lucier, a pioneering artist, and the talent of PARODI in producing “Horizontal Mover”, a work that deserves such praise.

EXTREME www.xtr.com

Sol Invictus
SOL VERITAS LUX
 
An All Time Neofolk Classic Returns at the Right Time

artist: Conrad Schnitzler
title: Trigger Trilogy
catalog #: IMPREC114
format: 3 cd
release date: October 24, 2006

Conrad Schnitzler is a genuine legend in the krautrock and electronic music worlds. Schnitzler studied under Joseph Beuys before joining an early Tangerine Dream. Their first album Electronic Meditation shows a band highly influenced by Schnitzler's unique, singular approach. Schnitzler left Tangerine Dream to form Kluster with friends Dieter Moebius and Hans Joachim Roedelius. When Schnitzler left Kluster they changed their name to Cluster eventually merging with Michael Rother (of Neu!) to form Harmonia, a group who Brian Eno once called the most important rock group on the planet. Schnitzler also founded Eruption in 1970 along with Klaus Schultz, Manuel Gottsching (Ash Ra Tempel), and Klaus Freudigmann.

Looking back at Conrad Schnitzler's career it becomes obvious that he was an architecht who helped draw the blueprints for some very significant musical movements. Perhaps overlooked, or at least desperately underappreciated, it hasn't slowed Schnitzler down. Since leaving Kluster Conrad Schnitzler has composed dillegently for electronics and piano. Now located in Dallgow Germany he continues to accumulate equiptment and recordings of what he says is “cold, hard electonic sound.”

Trigger Trilogy consists of three discs each selected from hundreds of hours of Schnitzler's private recordings. Each represents a one of the few unique approaches that Schnitzler takes to recording, each uniquely identified and defined by Schnitzler. Within each of these recordings one can hear how Schnitzler influenced a generation of artists not only in Germany but the world around and how he's brought those sounds into the modern day. It's also apparent in these recordings that Schnitzler is a thoughtful and enlightened, a total and pioneer floating freely in a world of sound.

Trigger One consists of what Schnitzler calls his Solo Voices or Solo Electronics. This particular recording happens to be rhythmically based electronic work. Recognizing that in traditional music the melodic line is subordinate to the ensemble leaving it no true impression of it's own Schnitzler has liberated the solo voice in his own music and given it it's own vocation as noise, tone and sound. By superimposing several voices or forming a sound environment by mixing Schnitzler has created new dimensions, worlds of sound where the individual voice is no longer subservient to synchronization or the conductor's baton. The results are sound combinations which adhere to no logic.
”The strength of the individual voice lies in its freedom from vis-a-vis any sound.” Conrad Schnitzler

Trigger Two is what Schnitzler refers to as Free Concert Mix Solos:

“From solo to mix, from melodic line to ensemble. Accumulation of voices,
note clusters which are not opposed to one other but are equal and
parallel in a free play of energy. The mix of solo voices produces
concentrations of notes and noises, tangles, compressions, sound
constellations, sound catastrophes, acoustic phenomena's.
The individuality of each voice is absorbed into the chaos of the
overall sound, is held there and blurred. Musical developments emerge
from the atmosphere of the individual voices of the ensemble and its
variations. Sound sequences spill forth, revealing tight and loose webs
of notes, changes in tempo, varying expressions of volume and dynamics
and shifts in the direction of the sound pattern. A sound chaos which
appears to change automatically becomes perceptible. the indeterminate
starting order for the solo voices create an open unfinished work,
containing a wealth of episodes with sound sequences, environmental
associations, stylistic devices from other worlds and interplay's of
nature and technology.” Conrad Schnitzler

Trigger Three, the final disc in the Trigger Trilogy, is a Con-Cert. This is a tradition that Schnitzler has been working in for quite some time. Originally using cassettes and now using compact discs Schnitzler creates live mixes of multiple recordings. The sounds are intentionally designed, shaped, constructed and composed in specific relation to one another.

“The articulation of sound in an era where new technology allows for the
creation of an unlimited number of new sounds calls for new recording
techniques. These are offered by tape, CD or computer hard disks.
In the past I used conventional cassettes to create my concerts, but now
the sounds are recorded on CD and can be used in the concerts thanks to
their enhanced quality.
The individual tracks have fixed starting points which can be adjusted
by a number of seconds and thus produce different results. The volume of
the individual tracks can be adapted to the acoustics of the location
and the listening experience will vary for each location as a
consequence.” Conrad Schnitzler

artist: Conrad Schnitzler
title: Klavierhelm
catalog #: IMPREC113
format: cd
upc: 793447511429
release date: October 24, 2006

Conrad Schnitzler is a genuine legend in the krautrock and electronic music worlds. Schnitzler studied under Joseph Beuys before joining an early Tangerine Dream. Their first album Electronic Meditation shows a band highly influenced by Schnitzler's unique, singular approach. Schnitzler left Tangerine Dream to form Kluster with friends Dieter Moebius and Hans Joachim Roedelius. When Schnitzler left Kluster they changed their name to Cluster eventually merging with Michael Rother (of Neu!) to form Harmonia, a group who Brian Eno once called the most important rock group on the planet. Schnitzler also founded Eruption in 1970 along with Klaus Schultz, Manuel Gottsching (Ash Ra Tempel), and Klaus Freudigmann.

Looking back at Conrad Schnitzler's career it becomes obvious that he was an architecht who helped draw the blueprints for some very significant musical movements. Perhaps overlooked, or at least desperately underappreciated, it hasn't slowed Schnitzler down. Since leaving Kluster Conrad Schnitzler has composed dillegently for electronics and piano. Now located in Dallgow Germany he continues to accumulate equiptment and recordings of what he says is “cold, hard electonic sound.” The piano is certainly an instrument with which Conrad Schnitzler is not often associated. However, his compositions on Klavierhelm exhibit his highly expressive and free approach to the piano. Calling to mind Erik Satie and Cage, Cecil Taylor and even Carl Stalling. Limited edition of 1000. Cover design by Conrad Schnitzler.

Artist: rivulets
Title: "you are my home"
Label: Important records
Date: November 28, 2006

www.rivulets.net
www.importantrecords.com

Details below...


YOU ARE MY HOME
by RIVULETS

> 1. Featured Artists

Nathan Amundson aka RIVULETS: acoustic guitars, piano, voice
Jessica Bailiff (Kranky records): bells, electric guitars, mellotron
Chris Brokaw (Codeine, Come, the New Year): drums, electric guitar
Christian Frederickson (Rachel's): viola
Fred Lonberg-Holm (Boxhead Ensemble): cello
Brian John Mitchell (Silber records): greenhouse construction
Bob Weston (Mission of Burma, Shellac): bass, beats, piano, trumpet

All songs & arrangements by Nathan Amundson, ? & (p) 2005 rivulets (BMI)

Recorded & mixed by Bob Weston at Electrical Audio, Chicago, IL


> 2.Track Listing

1. glass houses
2. can't i wonder
3. you are my home
4. heartless
5. motioning
6. greenhouse
7. win or lose
8. to be home
9. you sail on
10. happy ending
11. morning light


> 3.Overview

Long-delayed 3rd album by internationally acclaimed solo artist RIVULETS.
Featuring guests Jessica Bailiff (Kranky), Chris Brokaw (Codeine, Come,
the New Year), Christian Frederickson (Rachel's), Fred Lonberg-Holm
(Boxhead Ensemble), & Bob Weston (Mission of Burman, Shellac).

Rivulets' first 2 full-length albums, "r i v u l e t s" (2002) and
"DEBRIDEMENT" (2003), were both recorded by Alan Sparhawk of Low, and
released on Low's own label Chair Kickers' Union. These albums feature
guest appearances from the likes of  Jessica Bailiff (Kranky), LD Beghtol
(the Magnetic Fields), Jon DeRosa (Aarktica), Marc Gartman (No Wait Wait),
Brian John Mitchell (Remora), Aaron Molina (if thousands), and Mimi Parker
(Low).

Extensive touring overseas has garnered Rivulets intensely loyal fanbases
across Europe.  We're hoping this, Rivulets 1st album on Important
records, will help the US to take notice as well.  A few of the artists
Rivulets has shared bills with in the past include: Haley Bonar, Chris
Brokaw, Cerberus Shoal, Cocorosie, Mark Eitzel, Daniel Johnston, Low,
Mirah, My Morning Jacket, the New Year, Scout Niblett, Piano Magic, Radar
Bros., Stars of the Lid, Songs: Ohia, Swearing at Motorists, Willard Grant
Conspiracy, Shannon Wright, and Xiu Xiu.

Rivulets' discography also includes numerous compilation appearances and
several EPs: the aforementioned "thank you reykjavik" EP on BlueSanct;
"the Alcohol EPs" on Silber; the "rivulets / marc gartman" split CD
(featuring Jarboe of SWANS) on Tract; and the "you've got your own" EP on
Acuarela (incidentally the bestselling EP Acuarela have released,
out-selling EPs by the Album Leaf, the Clientele, and Tara Jane O'Neil).

This is not a folk album.  This is an album about hearts breaking, tearing
it down, and moving on.


> 4. Selling Points

Featuring guests Jessica Bailiff (Kranky), Chris Brokaw (Codeine, Come,
the New Year), Christian Frederickson (Rachel's), Fred Lonberg-Holm
(Boxhead Ensemble), & Bob Weston (Mission of Burman, Shellac).

Recorded & mixed by Bob Weston at (Steve Albini's studio) Electrical
Audio, Chicago, IL

Gorgeous package design featuring photography by reknowned French
photographer Laurent Orseau

Rivulets is cited as an influence by a new crop of young artists,
including Heller Mason and Jamie Barnes, both of whom have covered
Rivulets songs on record.

Well-known Rivulets fans include Antony (who came backstage in Spain to
compliment Nathan on how "diabolical" Rivulets' performance had been);
Iceland's beloved ??rir,  Germany's "future soul" diva Clara Hill, the
UK's Pantaleimon (collaborator of David Tibet / Current 93), and
Jamie Stewart of Xiu Xiu, who personally brought this album to the
attention of Important when it was looking for a home.  (Oh yeah I guess
everyone who plays on the record too, of course, or they wouldn't be doing
 it?)

Outside of his work in Rivulets, Nathan Amundson is a frequently called on
as a collaborator, with credits on records by Annelies Monser?, Jessica
Bailiff, if thousands, Pale Horse & Rider, Remora, and Vlor.  Visit the
discography page at rivulets.net for complete info:
http://www.rivulets.net/discography.html

Rivulets' official website: www.rivulets.net will undergo a complete
re-design for the launch of this album.  Find more on Rivulets at
rivulets.net

Selected Discography:
you've got your own, 2004 Acuarela Discos CDEP
rivulets / marc gartman, 2004 Tract Records CDEP
DEBRIDEMENT, 2003 Chair Kickers' Union full-length CD
The Alcohol EPs, 2002 Silber Records CDEP
thank you reykjavik, 2002 BlueSanct CDEP
r i v u l e t s, 2002 Chair Kickers' Union full-length CD


> 5. Key Markets:

All major US cities please.


> Hometown:

Anchorage, AK


> Also:
Bloomington, IN
Seattle, WA
Chicago, IL


> 6. Press quotes:

"Often driven only by voice or quiet guitar, Rivulets is frighteningly
gentle, yet genuinely powerful. The brooding love songs of Mark Kozelek's
Red House Painters are an apt comparison, as are the acute, windswept
soundscapes of Iceland's Sigur Ros. Most often, the music suggests the
isolation and odd beauty found at the center of an iced-over lake in the
middle of winter." - All Music Guide

"Four stars ["DEBRIDEMENT"]. Amundson's songs may occasionally make Nick
Drake sound full o' beans, but their forlorn, otherworldly beauty is
seldom less captivating." - Mojo, UK (2003)

"Residing in a hazy singer-songwriter space somewhere between Nick Drake
and Red House Painter Mark Kozelek, Rivulets' is the work of one Nathan
Amundson." - Mojo, UK (2002)

"Think of the hazy grace of Low, the heartrending honesty of Will Oldham
and the songcraft of Nick Drake and you understand it's hard for me not to
give this one my wholehearted recommendation." - the Broken Face

"Realistically, Nathan Amundson (Rivulets) should have put out a record
with at least one bad song by now. He hasn't." - the Brain

"...a shining gem of introspective modern ethereal folk." - Outburn

4AD readies “Wake”
a two-disc DEAD CAN DANCE collection

release date: October 10th, 2006

4AD is excited to release a condensed compilation of Dead Can Dance
music.  “Wake” contains tracks chosen by Brendan Perry from the out
of print limited-edition box set, which was released by 4AD in 2001.
The compilation spans Dead Can Dance’s entire career, including the
last track that Lisa Gerrard and Brendan Perry completed as the band
‘The Lotus Eaters’ (previously only available on the box set).

Lisa Gerrard and Brendan Perry formed Dead Can Dance in the early
‘80s, releasing eight critically acclaimed and highly individual
albums during their seventeen year career with 4AD.  As well as being
a unique musical force, Dead Can Dance are also one of the most
commercially successful 4AD bands, selling millions worldwide.  Since
the band’s split in 1998, both Lisa and Brendan have continued making
music.  Brendan Perry released his stunning ‘Eye Of The Hunter’ album
in 1999 and Lisa Gerrard has recorded solo albums and contributed her
glorious vocals to film scores such as ‘The Insider’, ‘Heat’ and
‘Gladiator’, for which she received a Golden Globe award and was
nominated for an Academy Award.  Lisa also did the soundtrack to the
award winning New Zealand movie ‘Whale Rider’.

Given the huge success of the 2005 Dead Can Dance reunion tour, now
is the time to revisit this hugely influential band.

“Utilizing traditional instruments in untraditional combinations,
Dead Can Dance have created a sound that is distinctly their own, and
instantly recognizable.”  PITCHFORK
“...a breathtaking fusion of ancient and modern sounds, the results
of which often transcend the stylistic entrapments of a specific
culture for something larger.” CMJ