Noveller & Thisquietarmy, "Reveries"

Reveries is the first collaborative effort of Noveller & TQA, two critically acclaimed lonesome composers welcoming us to an expanded guitar-based journey. Noveller is the solo project of Brooklyn-based composer Sarah Lipstate while Thisquietarmy is Eric Quach, unstoppable globetrotting musician from Montreal. Both use the guitar as their main instrument, creating some of the most impressive, hypnotic and rich-textured electric guitar works from the past years.

Empty architecture, luminosity, rocks and deserted zones. Somewhere between Antonioni's Zabriskie Point and Tarkovski's Stalker, there is a walk, a wait and an epiphany.

It happened. You were not there. You just read it. Or maybe it's the synopsis of it. It's written on the back cover of a dog-eared paperback that girl with the golden cap lost in the train you were just in. She was in a hurry. You'll never know its end, you just have to stick to the rocks and to the music.

Tomorrow is another day and tonight might be the night.

Recorded in January 2013 at Electric Blue Studios in Brooklyn, this new long player finds Sarah & Eric at their most luminous and aerial state, writing together layers of blissful drones resulting of a highly meditative and emotional four-parts piece.

More information here.

4673 Hits

Big Blood, "Unlikely Mothers"

Brand new double LP from the duo of Caleb Mulkerin and Colleen Kinsella, who also play in Cerberus Shoal and Fire On Fire. The duo also performed on Michael Gira's Swans LP, The Seer in 2012. Based out of Portland, Maine, Big Blood has dropped a ton of stunning self-released CDs and cassettes since 2006 as well as some fantastic vinyl releases for Time-Lag, Feeding Tube, Phase and Immune.

Big Blood's sound is rooted in folk and prime '60s / '70s garage psych. This new double LP sees them focus more on the electric side of things than on some previous releases with the addition of drummer, Shon. The record was recorded after Colleen spent a lot of time listening to Sabbath, Zepp and Dead Moon, so it definitely has a heavier vibe than some of their past releases.

The gatefold sleeve features artwork by Colleen, Unlikely Mothers refers to Colleen's mother (pictured on the inside) and Colleen's aunt (pictured on the outside), both were nuns. Her aunt stayed a nun and colleen's mom left (obviously) during Vatican II. The two images for the sleeve are from an ongoing series about women who buck common notions of who are the mothers in our lives.

More information can be found here.

5630 Hits

Godflesh, "Decline and Fall" EP

First new material since 2001.  Six new songs plus two dub versions.

More information can be found here.

Decline and Fall EP cover art

4358 Hits

Esplendor Geométrico reissues

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The reissue of ARISPEJAL ASTISARÓ+ on vinyl for the first time!, in expanded version (Double LP) with the four outstanding tracks "Noising in the Rain I - IV," included in the legendary Bruitiste compilation (1987) by RRRrecords.   Recorded between 1987 and 1989 and firstly published only in CD (1992) by Línea Alternativa,  an especially interesting period where the unique and characteristic  rhythmic-industrial Esplendor Geométrico style, developed along the eighties, turns more minimalistic, schematic, cold and rough.

Remastered in 2014 with a vastly improved sound, ARISPEJAL ASTISARÓ+ includes the 10 original tracks of the CD plus the 4 of Bruitiste, that constitutes the perfection of the eighties E.G. sound in all its aspects, included the voice of Arturo Lanz.  Aggressive siderurgical hammering ("Jari", "Arispejal astisaro"), mechanized tribalism ("Felacion", "Bi bajin"), and hypnotic spirals ("Catare").

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Geometrik presents the reissue, on vinyl for the first time and remastered in 2014 from the original reel to reel tapes!, of SHEIKH ALJAMA, originally published only in CD (1991) by Daft Records (Dirk Ivens label).  Recorded  between 1987 and 1989, an especially interesting period where the unique and characteristic  rhythmic-industrial E.G. style, developed along the eighties, turns more minimalistic, schematic, cold and rough, with sporadic influences of Arabic musics and rhythms. SHEIKH ALJAMA is an Esplendor Geométrico classic and one of the best albums of their whole career, including their hit "Sinaya."  Sheikh Aljama stands out for the incorporation of sonorities, voices and percussions of Arabic influence.

More information can be found here.

4863 Hits

Officer!, "Dead Unique"

Blackest Ever Black presents to you Dead Unique, an album by Officer! recorded in 1995 but - outrageously, inexplicably - never before released into the public domain. This then is not a reissue or a revival; it's a new record that just happens to have been maturing in the cask for, oh, a little shy of 20 years. It also happens to be a lost classic of English art-rock, and the crowning achievement in the career of its mercurial creator, Mick Hobbs, who was closely associated with This Heat and their Cold Storage studio.

A complex but thrillingly immediate avant-pop song cycle that charms and confounds at every turn, Dead Unique will give immense pleasure not only to Officer!’s existing cult following, but to anyone with an appreciation of piquant, idiosyncratic songcraft – fans of Kevin Ayers, Flaming Tunes, Art Bears, Woo, Dislocation Dance, R. Stevie Moore, Robert Wyatt, Cleaners From Venus, Lol Coxhill or The Monochrome Set should especially pay attention. It touches upon ragged-raw rock ‘n roll, sumptuous chamber music, pastoral folk, blowsy prog-jazz and paranoid dub-space, effortlessly shifting from skronking abstraction to rousing harmonic refrain and back again.

Blurring the roles of storyteller, poet and prankster, Hobbs turns memorable line after memorable line, booby-trapping them with mischievous puns, fleet-footed literary allusions, sudden digressions and shifts of register, nonsense rhymes and other wordplay. But his acute wit and flair for the absurd is moored by a deep romantic sensibility, and though it delights in the minutiae of the human comedy, Dead Unique ultimately addresses its biggest themes: love, loss, commitment, independence, the mutability and inconstancy of all things. "You lose, you learn, you advance…but you always go back."

More information can be found here.

4369 Hits

Lawrence English, "Wilderness of Mirrors"

Wilderness of Mirrors is the new album from Lawrence English. It is two years in the making and the first album created since the release of his 2011 ode to J.A Baker’s novel, The Peregrine. It is English’s most tectonic auditory offering to date, an unrelenting passage of colliding waves of harmony and dynamic live instrumentation.

The phrase, wilderness of mirrors, draws its root from T.S Eliot’s elegant poem "Gerontion." During the cold war, the phrase became associated with campaigns of miscommunication carried out by opposing state intelligence agencies. Within the context of the record, the phrase acted as a metaphor for a process of iteration that sat at the compositional core of the LP. Buried in each final piece, like an unheard whisper, is a singularity that was slowly reflected back upon itself in a flood of compositional feedback. Erasure through auditory burial.

Wilderness Of Mirrors also reflects English’s interests in extreme dynamics and densities, something evidenced in his live performances of the past half decade. The album’s overriding aesthetic of harmonic distortion reveals his ongoing explorations into the potentials of dense sonics.

“During the course of this record,” English explains, “I was fortunate enough to experience live performances by artists I deeply respect for their use of volume as an affecting quality, specifically Earth, Swans and My Bloody Valentine. I had the chance to experience each of these groups at various stages in the making this record and each of them reinforced my interest in emulating that inner ear and bodily sensation that extreme densities of vibration in air brings about.”

The album is moreover a reflection on the current exploitation of the ideals of the wilderness of mirrors, retuned and refocused from the politics of the state, to the politics of the modern multiplex. The amorphous and entangled nature of the modern world is one where thoughtless information prevails in an environment starved of applied wisdom. Wilderness Of Mirrors is a stab at those living spectres (human and otherwise) that haunt our seemingly frail commitments to being humane.

“We face constant and unsettled change,” English notes, “It's not merely an issue of the changes taking place around us, but the speed at which these changes are occurring. We bare witness to the retraction of a great many social conditions and contracts that have previously assisted us in being more humane than the generations that precede us. We are seeing this ideal of betterment eroded here in Australia and abroad too. This record is me yelling into what seems to be an ever-growing black abyss. I wonder if my voice will reflect off something?”

Wilderness Of Mirrors is reflection upon reflection, a pure white out of absolute aurality.

Out July 21, 2014.  More information here.

5013 Hits

Ensemble Economique, "Melt Into Nothing"

Melt Into Nothing is ENSEMBLE ECONOMIQUE's most lucid seance to date. The prolific Humboldt County musician has stripped layers off of his trademark haze but retained the beautiful desolation that’s earned him a rabid fanbase. The solo project of former Starving Weirdos member Brian Pyle, Ensemble Economique has crossed a land bridge from apocryphal world music and dusty soundtracks to gauzy 4AD-style atmospherics. Trellises of guitar embolden Pyle’s whispered, threadbare lyrics. On "Hey Baby," the itinerant tone feels like an update on Neil Young's stark and beautiful soundtrack for Jarmusch's "Dead Man." "Melt Into Nothing," like that beautiful film music, evokes the great American expanse.

Field recordings slip in and out of the mix. On "Fade for Miles," Pyle's adroit effects and backwards tape manipulation make the long trail on his vocals fade into waves on a rocky beach. Pyle combines minor-key organ and spacious string synths on "Never Gonna Die," recalling the grey grace of the releases on Factory's gothic cousin, Benelux. Thunder accentuates the dubbed-out machine drum programming as Pyle's dulcet tenor floats in storm clouds. The full-length also features contributions from Toronto artist DenMother and Parisian artist Sophia Hamadi, also of dark-wave Opale. This music is not excessively dark or severe. Rather, the record explores the internal dialogue of solitary walks. "Melt Into Nothing" is for making sense of humanity in nature’s unforgiving face. Ensemble Economique has made his most accessible record yet, but the complex emotion behind these tracks remains resonant and ultimately mysterious.

Out June 27th, 2014.  More info can eventually be found here.

4119 Hits

Mike Weis, "Don't Know, Just Walk" (Zelienople)

Don't Know, Just Walk cover art

Side A - "The Temple Bell Stops"

Side B - "But The Sound Keeps Coming" and "Out Of The Flowers."

Recorded at SOMA studios on April 21st, 2013 by The Norman Conquest. One take performances recorded without overdubs with the exception of an ARP 2600 Analog Synthesizer track by The Norman Conquest on "But The Sound Keeps Coming."

"Out Of The Flowers" was an improvisation with The Norman Conquest on the ARP.

Source material for "The Temple Bell Stops" and "But The Sound Keeps Coming" recorded by me at home in Chicago and in the field. Chanting on "The Temple Bell Stops" by an unknown monk at Jogyesa Buddhist Temple in Seoul, South Korea.

Additional contributions on "But The Sound Keeps Coming" by anonymous Cardinals, Nuthatches, Tufted Titmice, Woodpeckers and Blue-Jays in Hobart, Indiana; also Tree Frogs and Crickets at Hussy Lake, Michigan and Grasshoppers and Gold Finches at Clark and Pine Dune and Swale preserve in Gary, Indiana.

“There is all the time in the world for studying music, but for living there is scarcely any time at all. For living takes place each instant and that instant is always changing. The wisest thing to do is to open one’s ears immediately and hear a sound suddenly before one’s thinking has a chance to turn it into something logical, abstract, or symbolical. Sounds are sounds and men are men, but now our feet are a little off the ground.” -John Cage, from Juilliard Lectureenople

More information will eventually appear here.

3905 Hits

Bremen, "Second Launch"

Bremen

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

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

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

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

More information here.

4929 Hits

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

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

(Slightly) more information here.

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

4355 Hits

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

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

Continue reading
5494 Hits

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

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

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

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6601 Hits

Acteurs, "I W I"

I W I cover art

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

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

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

Out June 2nd.  More information is available here.

 

4904 Hits

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

All Over cover art

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

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

All Under cover art

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

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

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

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

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

5201 Hits

"1970s Algerian Folk & Pop"

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

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

More information will soon be found here.

4466 Hits

Maria Minerva, "Histrionic"

Maria Minerva

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

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

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

More information here.

4587 Hits

Sculpture, "Membrane Pop"

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

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

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

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

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

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

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

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

More information available here.

4714 Hits

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

01 Steady Stream Of Course

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

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

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

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

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

More information is available here.

4539 Hits

Thomas Ankersmit, "Figueroa Terrace"

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

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

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

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

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

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

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

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

More information is available here.

4272 Hits

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

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

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

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

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

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

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

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

More information here.
8261 Hits