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Christina Carter, "Masque Femine" LP

Vinyl reissue of Carter's 2008 "standards" album.

"Masque Femine should be regarded as a total work - much like a film, a ballet, a building, or, an altarpiece - rather than as an album of individual songs. And, its fundamental subject should not be understood to be romantic love."

Cut and mastered by Rashad Becker at D&M.

More information is available here.

5073 Hits

Martial Canterel, "Gyors, Lassù" LP

Since his first live performances in 2002, Sean McBride, aka Martial Canterel (who also performs as half of the duo Xeno & Oaklander), has crafted his electronic sound in a peculiar intersection between avant-garde and pop. Merging the influences of the first wave of relatively unknown minimal electronic bands in northern Europe, and seminal industrial noise bands such as Throbbing Gristle and SPK, with the smoothly stylish songcraft of early British New Wave, Martial Canterel records and performs using analogue synthesizers, sequencers and drum machines exclusively, molding electricity to fix the action of music creation in substance. The mastery of his composition technique, a second nature of harmonic complexity, along with a unique talent for melodies, enables him to manufacture gems of extreme noise pop, making use of all its unexpected ingredients.

Gyors, Lassù marks an important milestone in the evolution of Martial Canterel's music, progressing far beyond the cages of "minimal synth" and embracing the noisier qualities of its sound with a renewed urgency, a kind of thickness embodied in multiple layers using only eurorack, Serge and Roland 100 modular systems at his disposal and flushing out the entire session in one take. Sine waves are rendered into walls of guitar-like noise on songs like "And I Thought," while the stretching out and liquifaction of what were once very precise pointillistic staccato synth arpeggios are marshaled into layers of violent bliss on "Gyors/Lassù." The analogue labor and the density of sound highlight the character of continuous performance of the music, where the intertwining of the artist and his work is profoundly material in its quality. As in a modern embodiment of the potter’s wheel…the hands, the texture of clay, with ceramic material. Translated lyrically and conceptually, music performance is for time what travel represents in space, and Gyors, Lassù is the sonic rendering of McBride's wanderings between Hungary ("Bulvàr," "Budapest II") and the South of Italy ("Teano"), between vibrant rhythmic structures and melancholic instrumentals, balancing its bodily intensity with abstract experimentation against the regression of the modern listener.

More information can be found here.

Martial Canterel - 1500x1500

4561 Hits

"Slowly Exploding: Ten Years of Perc Trax 2004 -2014"

Starting as an imprint solely for Perc's own productions, Perc Trax has grown in recognition and confidence each year since its first release in 2004. This year Perc Trax celebrates its tenth year of existence, during which time it has released over seventy vinyl singles and six albums, hosted showcases as far away as New York and Tokyo and recently spawned the Submit and Perc Trax Ltd. sublabels.

To celebrate a decade of releasing music, Perc Trax looks to the future, releasing eleven brand new tracks from a mix of Perc Trax regulars including Truss, Forward Strategy Group, Sawf and Perc himself and names new to the label such as Clouds, Happa, Kareem, Drvg Cvltvre and Martyn Hare. These new tracks will be released as three separate vinyl EPs and will also form part of a 2xCD album. The first disc containing the new tracks, whilst the second disc is home to Perc's first commercially available DJ mix.

More information can be found here.

Slowly Expoding cover art

4623 Hits

Shinichi Atobe (Chain Reaction)

Mysterious techno operative makes shock return with debut album Butterfly Effect.

Demdike Stare have released the debut album from Shinichi Atobe on their DDS label.

Atobe only has one previous record to his name: Ship-Scope, a dubby and emotive techno 12-inch that came out on the Basic Channel sublabel Chain Reaction in 2001 (that one remains highly sought-after online and was one of FACT's "25 Best Dub Techno Tracks of All Time").  He hasn't been heard from since, but some sleuthing by UK duo Demdike Stare has unearthed a full album's worth of new and archival material from the Japan-based producer.

The album is limited to 600 vinyl copies. The vinyl, CD editions, and digital version are out now.

(via Resident Advisor and FACT)

4622 Hits

Lawrence English & Stephen Vitiello, "Fable"

Lawrence English and Stephen Vitiello are creators of mythology.  Their mythology renders a series of acoustic spaces, haunted by narrative and hinting at happenings unseen, but certainly heard.


With Fable, we are presented with their second duet. It chronicles three years of intermittent audio communications in search of new collaborative approaches. The results focus on the pair's joint interests in modular synthesis, field recordings and the blurry boundaries between acoustic instrumentation and electronics. The album's multiplicity of sources creates a weaving and at times overwhelming collage of materials that coalesce with considered intent. Its palette, whilst diverse remains focused and as the album progresses themes of arrhythmic percussion, electronic-like field recording, prepared piano and vintage synthesis begin to take form.


Like the photography of the cover, these musical pieces bare witness to time, they exist in the moment, but are formed outside of a sense of singularity. Their textured qualities and intricate variations are evidence of an iterative production methodology that invites a depth of listening. A pondering and the intended goal that one may hear or even see their own internal spaces, haunted by a cast of sonic characters.


More information can be found here.


4377 Hits

Skullflower, "Draconis"

Synapse-scorching occult-industrial-prog-noise-folk from the strings of Matthew Bower and Samantha Davies.

Churning mantras and drukpa elegies for two erased darkside tree limbs: that of the Draconian in Khem, and of Drax Priory in West Yorkshire, which together with Bhutan are the Dragon Lands. The twilight language of flowers is spoken and wolves are raised, finally, Kali dances. For fans of Bathory and Popul Vuh.

Comes in a deluxe 6-panel outsized double-digipak with a 16-page booklet.

More information is available here.

4849 Hits

Grouper, "Ruins"

Grouper Ruins Cover

"Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. I'm still surprised by what I wound up with. It was the first time I'd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, a Sony stereo mic and an upright piano. When I wasn't recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.


The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in."

More information is available here.

4690 Hits

Nurse With Wound, "Terms and Conditions Apply"

A double-CD release that collates material from the period 2008 – 2011.  Including for the first time digitally The Bacteria Magnet and Rushkoff Coercion E.P.s, previously unreleased remixes and exclusive tracks.  Comes in deluxe 6 panel digipac with art from Babs Santini.

Copies ordered from Dirter arrive as a three-disc edition, with a bonus CD in a full-color printed sleeve.  The bonus disc is (for the first time in digital form) the vinyl mix of Huffin' Rag Blues.

More information can be found here.

7027 Hits

M. Geddes Gengras, "Collected Works Vol. 2: New Process Music"

M. Geddes Gengras returns with the anticipated follow-up to his critically acclaimed Collected Works Vol. 1 The Moog Years (Umor Rex 2013). The music on New Process Music constitutes his first recordings of purely modular composition; while the album was recorded between 2011 and 2012 it has never been released before and we are pleased to present it for the first time as the Vol. 2 of his Collected Works series.

New Process Music represents a major aesthetic shift for M. Geddes Gengras, fusing the long-form modular compositions he had been exploring on a bevy of small-run cassette releases with a new obsession with post-production editing to create a deeply tuned aural environment, lush in analog electronics that are gritty along the edges, with rich textures and melodies materializing and wafting away like smoke. For New Process Music, Gengras used only a small eurorack synth and magnavox tape echo for the tracking process; the pieces that emerge act as documents of an artist exploring the limits of his chosen instruments. Most of the patches here were originally written for performance and recorded live. Sequences are twisted and bent, turned in on themselves or combined with random information. Longer tracks like "Slider" and "The Last Time We Were Here" zigzag across scales, the latter emulating the endless keyboard technique that was highlighted on Collected Works Vol. 1: The Moog Years, while the former takes the form of a bubbling kosmiche workout that collapses under its own momentum. Shorter pieces like "Glass Dance" and "Relation" offer fractured sequences that refuse to resolve over wavering beds of drone and shade. The overall effect is that of a richly detailed sound world that envelops the listener in a deeply personal space.

Out November 18th.

More information here.

Collected Works Vol. 2 New Process Music cover art

8594 Hits

Locust, "After the Rain"

After the Rain is the latest offering from Mark Van Hoen and Louis Sherman's Locust project. Following up the 2013 release You'll Be Safe Forever, this new album sees Locust stepping away from the abstracted forms of previous works presenting a more melodic/harmonic proposition. Bathed in a warm nostalgic memory, After the Rain draws on Mark's formative influences, primarily '70s electronic music.

Unlike previous Locust and Mark Van Hoen releases, which relied on programming and sequencing much of this new record was played live, creating a space where innovation is secondary to the suggestive power of time, space, mood and melody. Rich in melancholia and a yearning for a world once suggested After the Rain explores a crack in the historical framework, one embracing female identity and astute observations of melodic atmosphere. After the Rain is a melodic electronic mood record which presents itself as a triumph of historical revisionism.

More information can be found here.

After The Rain cover art

4831 Hits

A Winged Victory for the Sullen, "Atomos"

After releasing a first glimpse in the form of the Atomos VII EP earlier this year, A Winged Victory For The Sullen reveal their second full-length album entitled Atomos which sees the duo introduce flurries of electronics, harp and modular synthesizers to their sound in the follow-up to the 2011 self- titled album.

In 2013 AWVFTS caught the ear of Wayne McGregor, founder of Random Dance Company and resident choreographer at the Royal Ballet, who is perhaps best known for his choreography work on the Radiohead video "Lotus Flower" as well as "Ingenue" by Atoms For Peace.  McGregor used the debut album as the warm-up music during practice sessions for Random, and after noticing the group's reaction with the music, he contacted Adam and Dustin to see if they would write the score for his new work.

Given complete artistic freedom, the duo treated the score with the same care and attention as their debut full-length by recording more than sixty minutes of music over a four-month period across studios in Brussels, Berlin and Reykjavik with the help of their long time collaborative sound engineer Francesco Donadello. During the process they came to the realization that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique release.

More information is available here.

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4233 Hits

"Dance of Death: The Life of John Fahey, American Guitarist"

John Fahey is to the solo acoustic guitar what Jimi Hendrix was to the electric: the man whom all subsequent musicians had to listen to. Fahey made more than 40 albums between 1959 and his death in 2001, most of them featuring only his solo steel-string guitar. He fused elements of folk, blues, and experimental composition, taking familiar American sounds and recontextualizing them as something entirely new. Yet despite his stature as a groundbreaking visionary, Fahey’s intentions—as a man and as an artist—remain largely unexamined. Journalist Steve Lowenthal has spent years researching Fahe'’s life and music, talking with his producers, his friends, his peers, his wives, his business partners, and many others. He describes Fahey’s battles with stage fright, alcohol, and prescription pills; how he ended up homeless and mentally unbalanced; and how, despite his troubles, he managed to found a record label that won Grammys and remains critically revered. This portrait of a troubled and troubling man in a constant state of creative flux is not only a biography but also the compelling story of a great American outcast.

More information can be found here.

Dance of Death

5691 Hits

Esplendor Geométrico, "Ultraphoon"

Recorded in Madrid and Rome during 2013, this is the new album by the influential electronic duo ranked as industrial music pioneers. Ultraphoon is a leap ahead as for production and sound quality, with a stunning and brutal outcome, richly detailed nonetheless. Rhythms, noises and processed voices from different sources come together in hypnotic –bordering on trance– soundscapes along the lines of previous releases such as Pulsión (2009) and Desarrollos Geométricos (2011). Most of the meticulous mastering process has been carried out by Francisco López, internationally renowned as one of the top sound art and experimental music personalities, giving a new twist to the usual Esplendor Geométrico sound.

More information can be found here and here.

ultraphoon cover art

4588 Hits

Kevin Drumm, "Trouble"

Trouble is the brand new dispatch from the assorted output of Kevin Drumm and sits as one of the quietest in his entire catalogue. A single continuous 54-minute excursion into the netherworld of the audio spectrum, Trouble is neither ambient nor drone but a more complex investigation into the deep recesses of sound.  One which discreetly works itself into the mind of a listener willing to invest in the path laid out in this extremely subtle, beautiful and exceptional release.

More information can be found here.

Trouble cover art

4343 Hits

Oren Ambarchi, "Quixoticism"

Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Ambarchi's work in recent years has evinced an increasing fascination with the possibilities of combining abstract sonic textures with rhythm and pulse, whether in his drumming with Keiji Haino, the subtly driving ride cymbals provided by drummer Joe Talia in their work together, or the motorik grooves of Sagittarian Domain (Editions Mego, 2012). Quixotism takes this aspect of Ambarchi's recent work to the next level: the entirety of this long-form work is built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, being joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful, passages.

The pulse acts as thread leading the listener though a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of Crys Cole's contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede, appear and reappear, in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke's synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Eliane Radigue, and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, so that they are often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

Anyone who follows Ambarchi's work knows that it has many facets: explorations of the outer limits of rock with Keiji Haino, psychoacoustic interference and sizzling harmonics in his solo performances, delicate improvisations with Keith Rowe or John Tilbury. To all these projects, Ambarchi brings his particular sensibility, patiently allowing sounds to develop on their own terms without forsaking their intrinsic physical and emotional power. Similarly, although Quixotism is shaped by its many contributors, the resulting sound world is unmistakably Ambarchi’s own. His most substantial solo release since Audience of One (Touch, 2012), Quixotism represents the summation of Ambarchi’s work over the last few years while also pointing to the future.

More information can be found here.

Quixotism cover art

 

4569 Hits

Ashley Paul, "Heat Source"

Ashley Paul's Heat Source was recorded during a challenging year of transience between New York and London. During this year of impermanence Paul performed regularly and the effects of frequent performance and traveling can be heard in the intentionally pared back emptiness of Heat Source. making it an emotionally challenging and fascinatingly personal listening experience.

Heat Source finds Ashley Paul working using her brilliant ears to find a zen like balance between her voice and a sparse arrangement of staccato instrumentation leaving as much open space on one song as most people would create in a lifetime. This open space isn't empty, however, but it's up to you to fill in the meaning. Heat Source is an emotionally challenging and fascinatingly personal listening experience that creates a powerful pace.

Ashley Paul is a performer and composer based in Brooklyn, New York. She uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palate of sound that works its way into her intuitive songs; free forming, introverted melodies. This blend manifests beautiful and simple musical forms against acoustic experimentation. Her solo albums have received high praise being chosen in Wire Magazine's "Top 18 Releases of 2013," Pitchfork "Best Experimental sounds of 2013", first on Byron Coley and Thurston Moore's "Tongue Top Ten" in Arthur Magazine and included on NPR's All Songs Considered "Best of 2010". She has been interviewed or featured in Wire Magazine, BOMB, Gonzo (circus), Dummy, The Quietus, Ad Hoc, Spex, The Sound Projector and Foxy Digitalis.

Ashley has performed or recorded with Phill Niblock, Rashad Becker, Nik Colk Void, Loren Connors, Aki Onda, C. Spencer Yeh, Anthony Coleman, Joe Maneri, Joe Morris, Seijiro Murayama, Greg Kelley, Bill Nace and Eli Keszler appearing on such labels as PAN, ESP-DISK' and Tzadik. She received a Masters of Music from New England.

Out October 27th.

More information will eventually be available here.

4624 Hits

Lussuria, "Industriale Illuminato"

One of the most intriguing artists on the Hospital Productions roster, Lussuria came to prominence with the release of three tapes as part of the American Babylon series in 2012 which were eventually compiled into a double vinyl edition last year. His opiated atmospheres brought together the ritualistic appeal of late '70s and early '80s Italian industrial music crossed with the claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil.

Having been in the works through late 2013 and in post-production for several months since, Industriale Illuminato is in some respects the first release by Lussuria conceived as a standalone album, and is perhaps his most unique, unsettling body of work to date. Inspired by Deconstructionism and an overriding sense of anxiety, the album revolves around the dislocated narrative of album opener "Boneblack," a dense and evocative fade into shadowy realms inspired by composer Giacinto Scelsi and the enigmatic mind-tricks of Alain Resnais' Last Year at Marienbad.

More information can be found here.

Lussuria - Industriale Illuminato - Hospital Productions

4956 Hits

Lee Gamble, "Koch"

Following up from the success of his emphatic PAN releases Dutch Tvashar Plumes and Diversions 1994-1996 in 2012, we are excited to announce ‘KOCH’ (pronounced "cotch"), the new album from London's Lee Gamble.

Sharing some stylistic affinity with his previous records, which excavated his deeply personal history with UK jungle and rave, and techno, this new work dives even deeper to reveal a singular and intimate musical vantage point, shifting to approaching music as projection, state, hallucination, an other place. In Koch, we experience an artist constructing a future after time spent deconstructing the past.

In the music we witness such dimensional abstraction, zooming between epic macro scenery and claustrophobically close detail, disorientation and absolute focus. Rhythms fuse together and phase apart, club tracks tunnel into an anxious wilderness, with themes and textures emerging as threads throughout the record, wormholing between each track.

There is a sense of the seen and the unseen, an honest tension between music as function (for this world) and as artistic exploration (for another world) as cracks in the surface appear to reveal the odd and alien minutiae within. Koch represents an intimate and revelatory new phase in Lee Gamble's practice. Producing tracks that can live and grow on their own in a club or personal listening environment, the artist's exploratory framework creates threads of consistency and tension between disparate spaces, locations, and mental states.

More information can be found here.

4439 Hits

Anjou (ex-Labradford)

The culmination of four years writing and editing, Anjou marks the first collaboration between Labradford's Robert Donne and Mark Nelson since the release of that group's fixed:context LP.

Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture.

Guitar, bass and Steven Hess' (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming.

The product of twenty-plus years of friendship, Anjou is refined and challenging.

An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes firmly focusing on the future.

More information can be found here.

4817 Hits

The Legendary Pink Dots, "Chemical Playschool 16 & 18"

Chemical Playschool Volumes 16 & 18 cover art

The creatures who frolic in the Chemical Playschool have again escaped their test-tubes, and hell, this time they have gone too damn far...

Recorded from May through July 2014 at The Dolls' House, London and The Silver Studio in Nijmegen. Mastered by Ray.

Edward Ka-Spel, The Silverman, Erik Drost., Raymond Steeg...Cover Art by Anita Hammer.

More information can be found here.

 

4735 Hits