Bis Aufs Messer October news

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Bis Aufs Messer October news

Messagepar ADAGIO830 » 06 Oct 2018, 13:25

hi. welcome to our first newsletter for october. A bunch of new records arrived like the new Fucked Up DLP, a new CARETAKE DLP, the amazing MORTON FELDMAN - String Quartet II 6xLP-BOX, the WINFRIED RITSCH - Mono Metal Space LP, the new CAT POWER - Wanderer LP, a new EXPLODED VIEW - Obey LP, a new MOLLY BURCH - First Flower LP (White Vinyl), DIE TÖDLICHE DORIS - Sprechpause LP, the new ALL THEM WITCHES - atw DLP (Clear Red Vinyl) and many more goodies

we also have a new Artshow coming up on Oct 13th

https://www.facebook.com/events/270217916931971/

also ADAGIO830 uploaded two songs of the upcoming MONPLAISIR LP which will be another split release with ECHO CANYON

https://adagio830-records.bandcamp.com/ ... -agreement

and don´t miss the GHOST BAG & TINE FETZ, FLETCHER TUCKER & CHUCK JOHNSON show next month

https://www.facebook.com/events/1748371251917580/


Thank you
 
 Robert & Norman
 
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LP

ACEZANTEZ - Acezantez LP (sub rosa - On the evidence on Acezantez, Acezantez, founded by the versatile Croatian composer and instrumentalist Dubravko Detoni, merit wider recognition. Acezantez is a contemporary Croatian masterpiece. Originally released in 1977, the album is comprised of rich textural pieces constructed from an unnotatable, intricate interplay of percussive squeals, scrapes and rattles, parched and pitchless woodwinds, and dislocated keyboards, with stylistic affinities with early Nurse With Wound. This Detoni (born February 22, 1937) release was the first since his LP on the Phillips Prospective series, which in the 1970s was the most credible house for innovative compositional names such as Xenakis and Pierre Henry, opening the doors for much avant-garde musical invention. Where atonality is to the fore in much avant-garde music, Detoni's sense of abrasion is met with bouts of melodic intervention. Elsewhere, heavy industrial sounds are used as percussive texture; mixed with forceful electronics and dramatic instrumental passages, they create a complex and textured series of compositions.) 25.00

ALL THEM WITCHES - atw DLP (Clear Red Vinyl) Transparent Red Vinyl. ATW is the latest album from All Them Witches, a Nashville psych-rock band that nods to Blue Cheer, Pink Floyd, Black Sabbath and all manner of Seventies rock, yet doesn't fall into the standard traps the ensnare much of the Deep Purple–worshipping masses and every bell-bottomed guitar player to ever hit a fuzz pedal. Across eight new tracks, All Them Witches dabble in Moody Blues–esque psychedelic pop, Zeppelin-tinged blues and riffy hard rock, all while still somehow managing to sound fresh and original.) 27.00

THE CARETAKER - Everywhere At The End Of Time Stage 5 DLP (Penultimate, 5th Stage of The Caretaker’s ‘Everywhere At The End of Time’ series charting severe levels of musical/mental deterioration and sensory detachment through four extended, smudged and hallucinatory side-long pieces. As we near the end, ‘Stage 5’ sees our protagonist enter a near-permanent state of confusion and horror. Mirroring the endemic deterioration of dementia’s latter phases, were pulled through the most extreme entanglements in the series so far; repetition and ruptures, barely maintaining a connection to waking life and a sense of self. In the most classic sense, we become witness to an abandonment and dissolution of ego, as the mulch of bygone ‘78s totally loses itself in a way that connotes misfiring synapses failing to properly relay information at advanced levels of the disease. It feels as though our skull is being scraped out, uncovering hellish layers of accreted sensation and mulched imagery, occasionally recognising calmer patterns, only for them to fray into the ether before it’s possible to parse and dwell on them.  At this point it’s also perhaps worth pointing out the uncannily profound synchronicity between the timelines of ‘Everywhere At The End of Time’ and Brexit, which both started in 2016 and are due to wrap up in spring 2019. It should be no stretch of the imagination to read into their parallel progression from nostalgia and historic/collective amnesia, to progressive dementia and complete obliteration of (the) sense(s).) 33.00

CAT POWER - Wanderer LP (domino - Hark, the return of Cat Power! The one born Charlyn Marshall hits double-figures for studio LPs with Wanderer, her first full-length since 2012’s Sun. These eleven tracks find Marshall really settle into her role as a veteran singer-songwriter. Leaning largely on piano and guitar for the instrumentals, tunes such as ‘Robbin Hood’ and ‘Black’ see Marshall passing on some sage life advice from her new vantage-point of middle-age. It helps that her voice, which was already pretty husky to begin with, has now morphed into a breathy rumble equal-parts Gillian Welch, Feist and Leonard Cohen. Young pretender and former Cat Power tourmate Lana Del Rey guests on ‚Woman’.) 22.00

DAVID NANCE GROUP - Peaced And Slightly Pulverized LP (Purple Vinyl) (troule in mind - Limited Purple Vinyl. Omaha, NE musician David Nance is nothing if not prolific. Over the course of the past six years, he has released three full-length albums for labels Grapefruit and Ba Da Bing, a 7-inch, numerous cassettes, CDRs and unlicensed "cover albums" of artists like Lou Reed, The Beatles, Rolling Stones and Doug Sahm. His latest full-length is credited to the "David Nance Group" and features Nance alongside his recent hot-shit live band of fellow Omaha musicians; guitarist Jim Schroeder, bassist Tom May and drummer Kevin Donahue. Appropriately, the album is called "Peaced and Slightly Pulverized" as the sounds contained therein are alternatingly tender & brusque. Nance has an enviable way of conveying intensity and pathos in his music without necessarily resorting to clicking on a distortion pedal, instead relying on the build-up and tension from the interplay of his bandmates with his cracked, impassioned wail. There's also plenty of fuzz and distortion too, from the anthemic "Poison" with its fuzzed- out guitar riff that leans into a Crazy-Horsian guitar maelstrom and white-hot solo, to "Ham Sandwich"; a blisteringly frantic rant about a lunchtime torment - uncomfortable in its directness. Respite comes with "110 Blues"s languid late- night desert psychedelia, and side one closes with the epic seven and a half minute "Amethyst", expanded & jammed upon from 2017's Richie Records single into an emotional odyssey with Nance & Schroeder strangling their guitars into a twin-guitar, barbed-wire duel. The album's centerpiece is "In Her Kingdom", an emotive ballad that fades into view with a plaintive guitar strum, and over seven minutes ebbs and flows with a rising tide of swelling guitars, it's riffs gilding the melody & adding flecks of gold to Nance's tale of poverty and grace. Alternately, "When I Saw You Last Night" stalks the night like a predator, finally finding its prey two and a half minutes in with a stinging, blood-drenched guitar solo. The album closes with "Prophet's Profit"'s biting commentary on false idolatry that again utilizes the group's not-so-secret weaponry of Nance and Schroeder's six-string simpatico to bring the listener home.) 19.00

DIE TÖDLICHE DORIS - Sprechpause LP (fang - “In der Pause” (During the Pause) was the title of the last track on the b-side of “ “, the first album by Die Tödliche Doris. “In der Pause” was pause music, as well as the announcement of the interval between their debut album, released in 1982, and the box format project ”Chöre und Soli” that followed in 1983. The original sounds of “In der Pause” survived on a single audio tape dating from 1981.  Now, about 35 years later, Chris Dreier and Wolfgang Müller have used the material recorded on the audio tape as the source for five new tracks of pause music. The material on the original audio tape has was reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun.  “Sprechpause” was recorded in 1981 — 1982 by Chris Dreier, Nikolaus Utermöhlen and Wolfgang Müller and reworked by Wolfgang Müller and Chris Dreier in 2017.) 16.00

DJ KRUSH - Cosmic Yard LP (Special Edition) (DJ Krush's latest album Cosmic Yard sees the abstract hip-hop pioneer step back to his instrumental roots. Sinister beats, sci-fi tinged keys, and collaborations from long-time cohort Toshinori Kondo come together to form an album that while referencing the past looks the future straight in the eye. Also features Yukihiro Atsumi, Syuzan Morita, and Binkbeats.) 20.00

ED ASKEW - Art And Life LP (tri angle - Ed Askew is maybe still best known for an album from 1968 – his psych folk masterpiece Ask the Unicorn. The cult following surrounding that ESP-Disk record has grown over the most recent decade with archival releases Little Eyes (DeStijl), Rose (Okraïna), and the astounding 1980’s recordings on Imperfiction and A Child in the Sun (both from Drag City). Askew’s status as an important gay songwriter is not yet fully recognized. A trailblazer of the LGBT scene, was writing openly gay love songs in the macho folk scene of the late 60’s. Personified by a fully out New Haven hippie hitchhiker in white polyester suit with giant shock of bright curly red hair. An iconic but self-effacing figure who would be important to the current and future generations. But Askew hadn’t been in a recording studio since recording Ask the Unicorn, the entirety of which was recorded in one take, until the making of Art and Life in 2016. Jerry David DeCicca produced the first Tin Angel record of new songs by Ed Askew. The bulk of the album – featuring contributions from Ed fans Sharon van Etten, Mary Lattimore and Marc Ribot – was recorded in an art studio in Harlem. That record, For the World, solidified Ed’s trio in New York with Tyler Evans and Jay Pluck with whom he has since toured the east coast with Bill Callahan and played in Europe with Destroyer, Linda Perhacs, and Mike Heron. The songs on Art and Life have been fully arranged by Ed and his band. For the first time they recorded with album intentions in a proper studio (Jason Meagher’s Black Dirt and Jeff Zeigler’s Uniform). Mary Lattimore returned in a Philadelphia session; and the trio drove upstate during a blizzard with Josephine Foster to record arresting duet with Ed on the track ‘Quartets’, which also features a string arrangement by Jordan Hunt. ) 22.00

EXPLODED VIEW - Obey LP (sacred bones - Exploded View, the international music project of Annika Henderson, Hugo Quezada, and Martin Thulin has returned and taken flight with their second full length, Obey. The album was recorded at Hugo’s and Martin’s studios in Mexico City with Annika visiting from Berlin. Leaving behind their raw, live recording process, and embracing overdubs and multi-instrumentalism, the band has crafted their most ambitious work to date. The four-piece that recorded the band’s self-titled debut album and Summer Came Early EP became three to create a more concise collection of songs. Their motivation for creating together remains purely passionate and the improvisational spark the band is known for has morphed into the emotional flames of being close friends with a deep desire to make music with each other. This passion serves as the main conceptual thread throughout the album and the result is an almost hypnotic dream sequence that lulls the listener into a lucid state. Once in this state you become free to experience all of the classic dream motifs that the band has in store: intrigue, danger, ecstasy, visions that are hard to place but feel primordial, and a constant sense of movement. From the aptly titled opener “Lullaby” the record weaves you through 10 apocalyptic yet soothing songs. By the time you reach the song “Obey,” you are firmly in the band’s palm. And the titular track delivers, bringing you on a hypnotic voyage with a shuffle 3/4 rhythm, where singer Annika Henderson’s voice is caught in a rotating, inescapable rabbit hole tale, accompanied by the high-pitched modular bleeping sounds of the Moog and eerie landscape of the Solina. When asked about the title of the record, singer Annika said “this is in reference to so many things. We live in a society where we must obey or risk punishment. This can be social punishment, legal punishment, emotional punishment - if you dare to step outside, you will reap the reward. We live in a time when we are self-certifying a lot. Whether it’s how we present ourselves on social media or our diet or our job - we obey the social norms. Our fears are used against us by advertisers. Our fears of growing old or being excluded - we must conform or pay the high price - buy this and you will be accepted. We must obey.” She adds musingly at the end “It’s also funny because in the band we often feel like we are all compromising, so we must all obey each other’s wishes to some extent too.” The meta nature of this sentiment, wanting to break free and also recognizing necessary emotional compromises, is just one of many juxtapositions in this record. The band recognizes that some of the freedoms they advocate for are only attainable in sleep and have thus created this dream state record to help release us all.) 19.00

FUCKED UP - Dose Your Dreams DLP (merge - “I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, 'My God, FUCKED UP have made their Screamadelica.' And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an 'open format' approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. 'None of Your Business Man' opens the album in familiar enough territory, a saxassisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, MIKE HALIECHUK is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. 'Accelerate,' the lyrical centerpiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, 'Joy Stops Time,' finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is DAMIAN ABRAHAM's scream—a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization—and it works, it works so insanely well..."—Owen Pallett, June 2018. CD includes a booklet and poster inserts. Both vinyl versions include a newsprint poster. Limited vinyl version on yellow in clear vinyl.) 25.00

INTERPOL - Marauder LP (matador - Produced with the help of Flaming Lips and Mercury Rev producer Dave Fridmann, Interpol's iconic sound returns, a whopping 16 years after their acclaimed debut, Turn on the Bright Lights, and four years since their last: El Pintor. Guitars still twang and sparkle with spine tingling reverberation and the melancholy of Paul Banks vocals remains everlasting. There are grungier elements where rock and electronics take over from the emotional response of the bands sound, as heard in "Number 10", and while the dazzling impact of songs like "Obstacle 1" may be something else, there's no denying this groups heartmelthing longevity.) 19.00

JOHANN JOHANNSSON - Mandy OST LP (Transparent red vinyl - Mandy’ is the exceptional final soundtrack realised by dearly departed composer Jóhann Jóhannsson for the film directed by Panos Cosmatos. A supporting cast of Stephen O’Malley, Kreng and Yair Elazar Glotman, plus production from Randall Dunn ensure a majestic final missive and one of the most rich and varied releases in Jóhannsson's canon, taking in elements of metal, drone and doom ambient, even retro-futuristic synth work… With a crack squad including O’Malley on guitar and additional production from gifted sound designers Randall Dunn, Pepijn Caudron (Kreng) and Berlin’s Yair Elazar Glotman (Ketev), the results lurk like blinking red eyes in a dense nocturnal forest, swarming in formation from widescreen romance to petrifying, plangent cues and pockets of heart-sinking gloom, saving the gnashing guitars for when their bite is felt strongest, but equally knowing how to send shivers shooting down the spine in moments of sublime, contrasting relief on the ‘Memories’ theme. Jóhannsson's deft approach to sonic extremities is the real eye opener here; far removed from the emotionally driven demands of his more mainstream work for hollywood, here we're taken through grinding, industrial metal scrapes one minute and insanely rich ambient textures the next - with no concession to soaring emotional cues. Not that Jóhannsson ever really succumbed to much of that; but nonetheless - it’s a total pleasure to hear him reach into those darker recesses on Mandy - a soundtrack that’s likely to be remembered as one of his best.) 28.00

MASSIMO TONIUTTI - Il Museo Selvatico DLP (black truffle - Fascinating turn of incredible, private electro-acoustic designs by Italy’s Massimo Toniutti - brother of Giancarlo, of ‘Broken Flag’ LP fame - originally self-released in 1991 and now sniffed out, expanded with a bonus album’s worth of gear, and reissued by Oren Ambarchi’s faultless Black Truffle. To our ears, this little known masterpiece bridges a gap between Gruppo and Giuseppe Ielasi, rendering freely disciplined and brilliantly unpredictable arrangements of detailed field recordings and mechanical sounds that happen and unfold with a naturalistic quality that’s totally key to its immersive allure. Big RIYL: Nurse With Wound, Roland Kayn, Giuseppe Ielasi, Gruppo D’improvvisazione Nuova Consonanza. "Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti’s Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls “small and rare noises” or sonic “knick-knacks” recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance, and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patterns of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognizable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds you hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. Il Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, arranged especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrete.”) 25.00

MOLLY BURCH - First Flower LP (White Vinyl) (captured tracks - Limited White Vinyl. In a small-town South of Austin, Texas vocalist and songwriter Molly Burch is relaxing in her sunny country home. The 27-year-old is enjoying the calm before the storm that will kick start when her much anticipated sophomore album First Flower hits the public. The Los Angeles native has found tranquility in the outskirts of Texas, appreciating time on the front porch as cicadas sing in the distance behind her. Burch burst onto the music scene in 2017 with her debut album Please Be Mine, a ten-track ode to unrequited romance that she wrote after studying Jazz Vocal Performance at the University of North Carolina in Asheville. Please Be Mine earned praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. “I was really blown away with how many people told me that the music has helped them through their own break-up,” she says of Please Be Mine. “I was just so moved by that. I never expected it. I was aware that people were actually listening to my music and having a positive experience, so [with the next album] I wanted to reveal my own struggles with fear and anxiety.” After a year of touring Please Be Mine all over North America, Europe and the UK, Burch returned to Texas to decompress. All of a sudden, she was devoid of stimulation with nothing but time on her hands. “I was scared of not being able to write a great follow-up album,” Burch admits. “I was in that state, but I had so much time that slowly I was able to get some music out of myself. I would force myself to write every day. I gave myself a regiment. Once I got a few songs, then I had the confidence to keep going.” Burch bounced her ideas off her bandmate and boyfriend Dailey Toliver who would contribute guitar parts and orchestration suggestions. The hurricanes kept them locked at home, where they forced themselves to record demos and pump out as much material as possible. Slowly, the album took shape and First Flower became real. When it came time to record, Burch chose to work with Erik Wofford at Cacophony Recorders in Austin.   First Flower is a walk-through Burch’s most intimate thoughts. Unlike Please Be Mine, which focused on the contentious depression of heartbreak, First Flower explores broken friendships, her relationship to her sister, and more importantly, how Burch learned to fight overwhelming anxiety. Burch is a soft-spoken, careful person who shoves her nervousness away on a daily basis. First Flower is a bright, beautiful album peppered with moments of triumph. Burch’s voice is as strong and dexterous as ever, displaying her incredible range and professionalism as a vocalist. Opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. Songs like “Next to Me” and “Dangerous Place” examine failure and distance, and the title track “First Flower” is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album’s true stand-out is “To The Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. “I don’t need to scream to get my point across/I don’t need to yell to know that I’m the boss,” she coos over a sparse guitar riff.  “I’ve always been told my whole life to speak up,” explains Burch. “I needed to embrace that and not care what people think.” )20.00

MORTON FELDMAN - String Quartet II 6xLP-BOX (God Records celebrates its 50th release with this immense 6LP box set of Morton Feldman's monumental String Quartet II. Recorded live in one sitting by the renowned Pellegrini Quartet. First time on vinyl! "When Morton Feldman wrote his second string quartet in 1983, he found himself at the height of his career. Prior to this, his long form compositions, of which the majority lasted around one and a half hours, had not isolated him or let him disappear from concert and festival programming as he had expected, but were on the contrary celebrated as a major 'breakthrough' and a big 'step forward'. Like the long pieces that preceded it, String Quartet II consists of repeated patterns, which usually surface at a certain point in the composition without preparation, are maintained over a given period, and then abruptly abort to possibly return later. In this context, Feldman has always emphasized the interplay of 'reiteration' and 'change' in his music - two aspects that in his mind had been decisive criteria of the music of the twentieth century as 'repetition' and 'variation' (Stravinsky and Schoenberg). He even claimed Schoenberg's concept of 'developing variation' for his composition technique." - from liner notes by Sebastian Claren) 125.00

PHAROAH SANDERS - You've Got To Have Freedom 12“ (Pharoah Sanders has been described as probably the best tenor player in the world, emerging as a star from playing saxophone with John Coltrane in the 1960s. As a solo recording artist he is best loved by fusion fans for the jazz dance classic Youve Got To Have Freedom. It is taken from his 1980 album Journey To The One featured here for the first time on the complete side of a 12 inch single. Got To Give It Up is Pharoah's outstanding rendition of the Marvin Gaye classic on the B-Side. It has previously been on 7 inch but never until now in its full length version on 12" single. It was originally a feature on the 1978 album Love Will Find A Way produced by Norman Connors. To have both of these masterful recordings on one 12 inch single is something special.) 14.00

STEREOLAB - Aluminum Tunes [Switched On Volume 3] 3LP (Remastered edition of a compilation of Stereolab singles and rarities, first issued in 1998. Reissued alongside new vinyl editions of the companion volumes Switched On and Refried Ectoplasm [Switched On Volume 2].) 36.00

WINFRIED RITSCH - Mono Metal Space LP (god - Winfried Ritsch on Mono Metal Space: "... a 2x1m metal plate hung on a stand or frame is stimulated by amplifier driven modified motors used as strong transducers, and sensored by pickups. The computer-controlled feedback uses digital filters and dynamics effects as signal processing to try to resonate the plates within their individual overtones. These playable feedback filters are controlled as notes by playing increasing and decreasing sounds near the composed frequencies of the notes which evokes speech and 'singing-like' musical phrases in a wide range of frequencies typical of the chosen material. As a result of this arrangement, normally barely detectable resonances are produced in the musical space and create metallic-sounding multi-tonal clusters, whereby, due to the formation of formants and noise between the shifts, fast phrases and extremely slow polyphonic chords emerge from the sound plate. What initially appears as chaotic movements can soon be experienced as structured recurring patterns..." Personnel: Winfried Ritsch - composition/concept.) 25.00

V/A - Disques Debs International Vol. 1 DLP (strut - Strut present the first ever compilation series to access the archives of one of the greatest of all French Caribbean labels, Disques Debs out of Guadeloupe. Set up by the late Henri Debs during the late ‘50s, the label and studio has continued for over 50 years, releasing over 300 7” singles and 200 LPs, covering styles varying from early biguine and bolero to zouk and reggae. Debs played a pivotal role in bringing the créole music of Guadeloupe and Martinique to a wider international audience. Volume 1 of this series marks the first decade of the label’s existence and takes in big band orchestras, home-grown stars, touring bands and a new generation that would emerge at the end of the ‘60s. Early releases were recorded in the back of Henri’s shop in Pointe-a- Pitre, from his own sextet playing percussive biguines to young saxophonist Edouard Benoit, leader of Les Maxels and regular arranger for Debs bands. Other artists ranged from big bands like Orchestre Esperanza and Orchestre Caribbean Jazz to poet and radio personality Casimir “Caso” Létang and folkloric gwo ka artist Sydney Leremon. Debs also capitalised on recording foreign touring artists visiting Guadeloupe during the early ‘60s including Haitian trumpeter Raymond Cicault and Trinidadian bandleader Cyril Diaz. Compiled by Hugo Mendez (Sofrito) and Emile Omar (Radio Nova), ‘Disques Debs International’ is released in conjunction with Henri Debs Et Fils and Air Caraibes. The package features a host of rare and unseen photos from the Debs archive with both formats featuring extensive sleeve notes and interviews with Philippe Debs and Max “Maxo” Severin of Les Vikings.) 29.00


BOOKS

HEATHER BENJAMIN - Cavegirl Monologue BOOK (sacred bones - Cavegirl Monologue is the largest collection of visual artist Heather Benjamin's work to date.  Heather Benjamin’s work has been exciting and unsettling viewers for ten years and counting. Having spent years with her practice firmly rooted in DIY zine and comics culture, Benjamin’s drawings of ultra femmes covered in blood, bugs, lipstick, and leg hair have typically been made with the intent of mass reproduction, through photocopying and screen printing. With her new work, Benjamin moves in an a more expansive direction, creating pieces whose primary motivations are not exclusively to be reproduced and reprinted as their final form, but are instead made to be viewed as singular and precious objects. For the artist, this new intention opens up infinite possibilities to experiment with scale, color, and medium, in ways she had not yet attempted.   Cavegirl Monologue is Benjamin’s most substantial collection to date and the works range from the most minuscule of talismans to larger than life representations of female creatures. Much of the art in this collection is new and unreleased, but it also contains a selection from her artist’s books and foldout zines, including the recent Romantic Story collection that was wildly popular and is now out of print. It also contains paintings from her 2017 debut solo exhibition at Dress Shop in Brooklyn. The images compiled here are intended to be displayed together, all falling under the umbrella of her most recent work but also providing an integral passage in the cavegirl’s monologue.   “Because of my roots in DIY zine and comics culture, visual narratives are important to me, though I tend to pursue them in less traditional and more non-linear ways,” Benjamin explains. “I’m interested in the stories that form within a singular image as well as in how the images relate to each other through shared use of iconography and theme.”  The subjects of her recent art are a logical continuation of the larger narrative of Benjamin’s body of work: She works to excavate the female human experience as she knows it. Benjamin muses on intimacy, sexuality, self-perception, body dysmorphia, and trauma through her avatars. Her work is diaristic, approaching her subjects through the lens of her own personal experience; each piece can easily feel like a self-portrait. Her women are simultaneously self-assured and crumbled, standing defiantly on their own two hairy legs, yet seeking the shoulder of an empathetic viewer to cry on. Benjamin uses her art to sort through her own trauma and self-analysis, and seeks to give faces, bodies, and narratives to the different facets of her own womanhood. Through that excavation, she reaches for more universal ideas and truths about the relationships people have to each other and to themselves, hoping to guide herself through the abjections and frustrations of her womanhood toward a greater sense of self-acceptance and actualization.   The book contains a foreword by Reba Maybury of Wet Satin Press.) 29.00
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ADAGIO830
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Re: Bis Aufs Messer October news

Messagepar ADAGIO830 » 12 Oct 2018, 14:17

hi. welcome to the 2nd newsletter of october. As usual a bunch of new records arrived like the new GOGGS - Pre Strike Sweep LP, the fantastic ANNA ST. LOUIS - If Only There Was A River LP, the amazing CATHERINE RIBEIRO + ALPES re issues via Anthology, a new EXEK LP, JERUSALEM IN MY HEART - Daqa'iq Tudaiq LP, a new WINDHAND DLP, COUGH - Sigillum Luciferi DLP restock, a new SICK THOUGHTS - s/t LP, the great V/A - Basement Behehive: The Girl Group Underground DLP via Numero, a bunch of restocks like Liturgy, Sumac (also colored vinyl), Marissa Nadler etc. ..

we also have MOUNT EERIE / WITTR on its way, LITHICS LP, new MOUNT EERE live in Utrecht DLp, a bunch of MOUNT EERIE restocks etc etc.

And also some adagio830 returns like the SECRET SMOKER - Terminal Architecture LP, some LORD SNOW LPs, LEVITATIONS - dust LP, RAT COLUMNS - do you remember real pain? LP , some LICH / MAN HANDS split 10“s, LOCKTENDER / BRIGHTER ARROWS split 10“ …

we also have a new Artshow coming up tmrw on Oct 13th

https://www.facebook.com/events/270217916931971/

also ADAGIO830 uploaded two songs of the upcoming MONPLAISIR LP which will be another split release with ECHO CANYON

https://adagio830-records.bandcamp.com/ ... -agreement

and don´t miss the GHOST BAG & TINE FETZ, FLETCHER TUCKER & CHUCK JOHNSON show next month

https://www.facebook.com/events/1748371251917580/


Thank you
 
 Robert & Norman
 
mailorder@bisaufsmesser.com
www.bisaufsmesser.com
http://www.facebook.com/BisAufsMesserRecordstore?ref=ts
https://adagio830-records.bandcamp.com/
http://soundcloud.com/adagio830


7“

ENVISION - A World Unseen 7“ (ugly & prud - South Florida Vegan Straight Edge.) 6.00

NEGATIV - Automatic Thoughts 7" (doomtown - Negativ are from Oslo, Norway and this is their violent, cold response to the new wave of Scandinavian hardcore.  This piece of vinyl contains five negative hits full of punishing, bitter and thrash-infused takes on 80's hardcore, combining everything that was great about early Italian, UK and Japanese hardcore. Plus, add some Norwegian guitar work weirdness, polka stomping beats and bestial vocals on top of that and you get the totally unique, yet brutal Negativ; just like a shiv stuck in your neck, shitting razors or ten blocks of cement poured down your throat!  The first press of this amazing 7" sold out instantly so now it's been repressed on blue vinyl with slightly different artwork. Limited to 500 copies!) 6.00

X DEVOUR X / XREIGNX - split 7“ (ugly and proud - Belgium's 90s metalcore defenders X DEVOUR X meet San Diego vegan straight edge warrior squad xREIGNx. The 7" features two songs from each band.) 6.00

WAKE OF HUMANITY - At Capacity 7“ (ugly & proud . Hailing from the Pacific Northwest, Wake Of Humanity blends different elements of metal and hardcore resulting in fierce proclamations targeting injustices against the natural world. As a whole, the band promotes the ethics of both animal and earth liberation, holding those that perpetuate violence and injustice against those ideals accountable. Ex-members of Himsa, Parasitic Skies, Bullshit Tradition and Old Ghost.  2nd pressing) 6.00

LP

ANNA ST. LOUIS - If Only There Was A River LP (woodsist - If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. The tape received notice from NPR: All Songs Considered, Pitchfork, and Stereogum. On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own. “Being from the Midwest means a certain tone is woven into ones’ fabric. And every now and then, someone comes along who has the power to convey that feeling in their cadence alone. And so all hail Anna St Louis, who lets us into her world of heartache, wonder and a never-ending, never-beginning dance with time. Her album is for the mystics, reminding us that the world is full of magic at every turn, if only we let ourselves see it. Sometimes just by stating a simple observation, St. Louis lets us in on an infinite truth that perhaps we wouldn’t have seen otherwise. To step into the world of Anna St. Louis is to step into a world where the heart leads straight to the soul and where everything is cloaked in beautiful mystery. If Only There Was A River is a record of longing—of a soul reaching for more.”  —Kevin Morby) 20.00

CATHERINE RIBEIRO + ALPES - Paix LP (Anthology Recordings is pleased to announce the reissue of the long out of print—and never before officially issued in the US—trilogy of albums by CATHERINE RIBEIRO + ALPES, 1970’s N°2, 1971’s Âme Debout, and 1972’s Paix. Anthology’s presentation of these foundational LPs, arguably the group’s finest hours on wax, fills in a crucial missing link in the canon of psychedelic and experimental music of the '60s and '70s. In a lineage with other uncompromising women singers such as Edith Piaf, Nico, and Diamanda Galas, Ribeiro's is a sound of possession, of ritual. Her approach shares more with performance art than it does with pop music. It’s the sound of love and madness and political tumult, stripped bare and emerged from dark recesses. With her weighty voice, she emphasized expression and meaning over immaculate, adventurous musicality. Each LP includes its own insert featuring photos and original press material culled from Ribeiro's personal archive. Limited first run of 750 copies.) 30.00

CATHERINE RIBEIRO + ALPES - No. 2 LP (anthology . Anthology Recordings is pleased to announce the reissue of the long out of print—and never before officially issued in the US—trilogy of albums by CATHERINE RIBEIRO + ALPES, 1970’s N°2, 1971’s Âme Debout, and 1972’s Paix. Anthology’s presentation of these foundational LPs, arguably the group’s finest hours on wax, fills in a crucial missing link in the canon of psychedelic and experimental music of the '60s and '70s. In a lineage with other uncompromising women singers such as Edith Piaf, Nico, and Diamanda Galas, Ribeiro's is a sound of possession, of ritual. Her approach shares more with performance art than it does with pop music. It’s the sound of love and madness and political tumult, stripped bare and emerged from dark recesses. With her weighty voice, she emphasized expression and meaning over immaculate, adventurous musicality. Each LP includes its own insert featuring photos and original press material culled from Ribeiro's personal archive. Limited first run of 750 copies.) 30.00

CATHERINE RIBEIRO + ALPES - Ame Debout LP (Anthology Recordings is pleased to announce the reissue of the long out of print—and never before officially issued in the US—trilogy of albums by CATHERINE RIBEIRO + ALPES, 1970’s N°2, 1971’s Âme Debout, and 1972’s Paix. Anthology’s presentation of these foundational LPs, arguably the group’s finest hours on wax, fills in a crucial missing link in the canon of psychedelic and experimental music of the '60s and '70s. In a lineage with other uncompromising women singers such as Edith Piaf, Nico, and Diamanda Galas, Ribeiro's is a sound of possession, of ritual. Her approach shares more with performance art than it does with pop music. It’s the sound of love and madness and political tumult, stripped bare and emerged from dark recesses. With her weighty voice, she emphasized expression and meaning over immaculate, adventurous musicality. Each LP includes its own insert featuring photos and original press material culled from Ribeiro's personal archive. Limited first run of 750 copies.) 30.00

DEAD NOW - Dead Now LP (brutal panda - Consisting of current and former members of Torche, Riddle of Steel, Tilts and Day Old Man, DEAD NOW are a veritable power-trio who play dynamic, melodic heavy rock that is best enjoyed LOUD!) 23.00

DEADBIRD - III: The Forest Within The Tree LP (20 buck spin - A decade has now passed since the release of Twilight Ritual, the second album from Little Rock’s Deadbird. Though much has changed in the metal world since then, ten years on the band remains steadfast in their ability to sculpt heartwrenching and gutsy songs from the deepest, darkest places within. Years of toil and scorched southern soil went into the band’s third album III: The Forest Within The Tree, resulting in forty haunting minutes of emotive turbulence and resolute grit.  An intense listen from the outset, after “The Singularity” intro, the one-two punch of “Luciferous Heart” and “Heyday” carry the weight of the grandiose and the grave, burning with furor and primordial light. At times dipping into quietly morose acoustics and at others crushing with a Neurosis-like magnitude, Deadbird offer the scope of the world weary and of sentiment laid bare on compositions like “Brought Low” and “Bone & Ash.”  Ten years is not a short time between albums, but the passing of years have solidified this band into an entity well versed in the art of vigilance. The eight tracks comprising this release are their best to date and signal the awakening of new day for the band.) 23.00

ELECTRIC CITIZEN - Helltown LP (riding easy - Helltown, the forthcoming third album by Electric Citizen is, in many ways, a homecoming. While the title may seem fittingly metal (if not exceedingly so), it actually has real relevance. Helltown (all one word), while also multidimensional, is named after the Cincinnati, OH neighborhood in which the band lives, practices, and where the album was written, recorded and mixed. Now known more prosaically as Northside, Helltown earned its name in the 1800s due to its reputation for rowdy taverns frequented by the neighborhood of factory workers and immigrants. Inasmuch as Helltown is an ode to the band’s home and its buried past, it also represents a return to the grittier sound of their 2014 debut, Sateen. Furthermore, it marks the return of original bassist Nick Vogelpohl, who rejoins vocalist Laura Dolan, guitarist Ross Dolan and drummer Nate Wagner. It’s a fun, tough, dirty rock n’ roll album. “In many ways this album is a realignment to the first,” Laura says. “We experimented a lot on the second album, some of which we learned we didn’t like.” Electric Citizen’s 2016 album Higher Time was an expansive and somewhat cleaner effort mixed by Black Keys engineer Collin Dupuis at Easy Eye in Nashville, TN. It was a landmark moment for the band earning considerable press praise — Consequence of Sound named it in the 20 Most Anticipated Albums of 2016 with “the most breakout potential of all the young bands on this list.” And, the band’s endless touring since the first album earned them stints opening for acts like Pentagram, The Crazy World of Arthur Brown, Fu Manchu, Budos Band, Wolfmother and playing renowned festivals like Psycho Las Vegas, Psycho California and Desert Fest Belgium.) 25.00

EXEK - A Casual Assembly LP (W25th - Right on the heels of their Ahead Of Two Thoughts LP released earlier this year, A Casual Assembly is the latest offering from Melbourne’s EXEK. The EP coalesces around a stirring theme for synthesizer, trumpet and bass, bringing together reference points to Laurie Spiegel, Jah Wobble and The Velvet Underground’s “The Gift.”  Frontman Albert Wolski’s disembodied narration – at times reminiscent of Samuel Beckett or Robert Ashley – unfolds over a series of dark vignettes set in a dystopian near-future. Autotune has been banned, secret police patrol the redoubts of the wealthy, and world beaches have been cleared of their sand for the construction of enormous ur- ban prisons. As these events turn more fraught and absurd, Wolski reveals just how much is gained through EXEK’s stripped-down arrangements and dreamlike tones. A Casual Assembly echoes like the lost soundtrack to a Kubrick or Jarman film. Recommended for fans of Normil Hawaiians, Jenny Hval and Harmonia.) 17.00

FUMIO ITABASHI - Watarase LP (Is Watarase the best jazz record from Japan, as the French-born Gilles Peterson once assumed? Or is it maybe the best jazz record of all jazz records? Everyone can decide for themselves and listen to Watarase, the second solo piano album of the Japanese pianist Fumio Itabashi, originally released in 1982. Tokyo-based Mule Musiq have unearthed it, re-mastered the original recordings and brought it back to the world in order to seduce all music lovers that embrace notes which come straight from the heart and soul. Any sensible listener finds the instrumental piano pieces are somehow soulfully connected to what Keith Jarrett plays on his legendary Köln Concert (1975). Like Jarrett, Itabashi does not play his notes academically. He lets them fly, gives them some kind a life of their own, hits the piano keys deeply emotionally and injects his into compositions and interpretations a kind of nervous human soul. In terms of style, some call his Watarase recordings post-bop, others contemporary jazz. It is all, however, just that kind of agitating jazz that melts spirituality with humanity. Three tunes, the epic "Someday My Prince Will Come" as well as "Msunduza" and "I Can't Get Started", are interpretations, respectively, of compositions by Frank Churchill, Dollar Brand, and Vernon Duke. The other four compositions were written and by Itabashi, who started to play the piano when he was eight years old. While studying at Tokyo-based Kunitachi College Of Music, he fell in love with jazz. In the 1970's, he worked with such musicians like trumpet player Terumasa Hino, drummer Takeo Moriyama, and saxophonist Sadao Watanabe. Today Itabashi is still a vital part of Japanese jazz culture as a performer and composer. Those who want to see how he makes love with his piano should check the Internet for the French documentary Jazzed Out (2010), that captured his unique way of playing in one episode. But as music is always firstly for the ears, and not the eyes, one had to be directed to play the Watarase recordings loud, to get hooked by the highly infectious piano gems that have been recorded at Nippon Columbia 1st studio in Tokyo on 12th and 13th of October 1981. They will force one to become a good friend with the repeat button, in whatever medium one chooses to surrender to the music of Fumio Itabashi.) 32.00

GOGGS - Pre Strike Sweep LP (in the red - With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 by GØGGS guitarist and co-founder Ty Segall, the album explores the damaging affects of modern life before blowing them up one by one. Singer Chris Shaw uses terms like “space rinse” and “roadside surgery” to inform the listener that this is a strange and different trip, far and away from the “Glendale Junkyard” he romanticized in 2016 on their self-titled album. In fact, all expectations brought on by that acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps.) 18.00

HARUOMI HOSONO & TADANORI YOKOO - Cochin Moon LP (lita - The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).  Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan.) 32.00

JERUSALEM IN MY HEART - Daqa'iq Tudaiq LP (contellation - Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If If If If If (year-end lists at The Wire (#39), The Quietus (#24) and A Closer Listen (Top 10), among other accolades). Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, BIG|BRAVE) and complemented by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'iq Tudaiq translates as “minutes that bother/oppress/harass” – which presumably needs no further explanation – and features two distinct album sides of music.) 24.00

LITTLE WINGS / MAHER SHALAL HASH BAZ - Share LP (Mooone - Maher Shalal Hash Baz and Little Wings’ split LP Share brings together two highly idiosyncratic Japanese and US musicians. “We recently started working with Kyle Field post meeting in Phoenix while he was on tour with Big Thief,” says Moone’s Caleb Dailey. “Simultaneously, we have been working on multiple projects with [Maher Shalal Hash Baz leader] Tori Kudo over the past year. People who are aware of them both know that there isn’t anyone quite like either of them. They have singular musical visions and expression. We’ve been listening to them side by side for years and saw a unique connection between them long ago. With our newly formed friendships, we had the opportunity to help bring together the collaboration.”   Japanese musician Kudo and North American folk singer Field are both prolific recording artists in their own respective DIY scenes. As well as heading Maher Shalal Hash Baz, Kudo has performed with Ché-SHIZU alongside erhu player Chie Mukai, and in the 1990s he led the experimental rock group Guys & Dolls, among many other projects. The California based Field formed the band Little Wings in the late 1990s and was also a member of Rodriguez, along with M Ward.) 23.00

RACETRAITOR - Burn The Idol Of The White Messiah LP (ugly & proud - This was the first and only full-length from Racetraitor, who were one of the '90s most political and powerful bands, coming from Chicago, IL packed with a metallic sound that bordered on grind and powerviolence, and had members go on to Fall Out Boy. Remastered and with a special zine containing the history of the band. 2nd Euro press (1st press from Carry The Weight Records). US Press is available from Goodfight Music.) 13.00

ROSALI - Trouble Anyway LP (scissor tail - Philly-based musician Rosali ( Long Hots, Wandering Shade) wrote the songs for her second album, Trouble Anyway, seeking empowerment by sharing openly on love, power, aging, suffering, confusion, self-doubt, and anger. The result is a full-bodied record that is at once sweeping and intimate—a vulnerable and powerful exploration of emotional narratives. With a band including Rosali’s close friends Charlie Hall (War On Drugs), Paul Sukeena (Angel Olsen), Mary Lattimore, Mike Polizze (Purling Hiss), Nathan Bowles (Steve Gunn, Black Twig Pickers) and Dan Provenzano (Purling Hiss, Writhing Squares), this album is a cohesive collection of lush, intimate rock songs, featuring Rosali’s warm, natural vocals and powerful riffing and rhythm guitar.  “Members of The War on Drugs and Purling Hiss, as well as Mary Lattimore and Nathan Bowles, join [Rosali] Middleman on Trouble Anyway, which expands Rosali’s sound with a band attuned to her shuffling guitar rhythms and introspective shifts of emotion. It’s the kind of record best heard in the winding narrative of night, as casual conversations and cheap bottles of wine gradually turn deeper, darker notes.” — NPR   “I first fell in love with Rosali’s songs for this reason, the way her work takes you straight to that brave and big-hearted dream within songwriting. Every song stands strongly as it’s very own world, well-worn by the history of the underground but accessible as daylight.” — Meg Baird, Spring 2018) 21.00

SICK THOUGHTS - s/t LP (gone r- If you don’t know Sick Thoughts, you don’t know punk. The band is the mighty Drew Owen. Baltimore born and bred, he then up and moved to the swamps of New Orleans while still a teenager. The general consensus was he’d be another casualty of The Big Easy decadence, and would soon be seen hitting up tourists for money on Bourbon Street with a dog on a rope. But somehow he got hooked up with the best (worst?) folks in the city and kept making great music. That, and the fact that forty-ounce bottles just bounce off his head, have kept him alive. Rock and roll romance and the promise of socialized health care sent him to the (imaginary?) home of Killed By Death punk, Helsinki, Finland. Which makes perfect sense—this album is like the perfect KBD record, full of buzzsaw guitars, machine gun drums and hooks that hit like a tire iron. Owen’s brand of aural early-20s angst, with doses of Zero Boys, Reatards, and early Crüe, mixed with the stench of the streets, has never sounded better. This album clearly puts Sick Thoughts on top of the punk heap. It’s Owen’s world—get in it!) 17.00

WINDHAND - Eternal Return DLP (realpse - Purple Vinyl / UK & Europe exclusive edition of 2,000 copies. Eternal Return, the fourth full length from Richmond, Virginia's heavy psychedelic quartet WINDHAND represents a new era for the group, a chrysalis moment that takes them to new and unforeseen heights. Across nine songs and 63 minutes, Eternal Return is an infectious display of songcraft cloaked in alluring atmosphere, molten fuzz, eerie psychedelia and ethereal vocals. The album was once again produced by Jack Endino (Nirvana, Soundgarden) with vivid artwork by Arik Roper (Sleep, High on Fire). Equally informed by heavy, fuzzed-out psych along with the iconic grunge / alternative groups of the 90s, WINDHAND have crafted a record brilliant in scope, powerful in execution, and perfect for an era of increasingly blurry yet still heavy borders.) 29.00

V/A - Basement Behehive: The Girl Group Underground DLP (numero - Who do we become when we live our dreams? It’s all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double CD are 56 (28 on the 2LP) foiled escape attempts, now free to soar in girl group heaven.) 32.00

V/A - The Sore Losers OST DLP (Reissue of an out-of-time and ahead-of-its time garage rock soundtrack to the typically out-of-his-mind Mike McCarthy aka JMM movie Sore Losers. The film is full of aliens, comic books, rednecks, zombies, boobs, gals, gals fighting, and rock ‘n’ roll. Starring the Oblivians’ Jack Oblivian, with Guitar Wolf, Mike Maker, the deliciously curvy D’Lana Tunnell, and a guest appearance by exploitation master David F. Friedman himself.  Anyone who has seen his movies can attest to the fact that Mike McCarthy always overdelivers. Sore Losers is as good / bad an example as any. Whole soundtracks would be filled out around just one of the acts on this thing—case in point, Greg Oblivian doing a toy instrument version of the much-loved “Bad Man” that is worth the price of the record by itself. Plus The Gories / Dirtbombs’ Mick Collins, The Makers, Jack Oblivian himself, and the mighty Guitar Wolf! Also New Orleans garage/ frat kings Royal Pendletons, Jeffrey Evans of the Gibson Bros with his ’68 Comeback, and also featuring Jack Taylor, the most amazing / fucked up guitar player ever. His guitar tone started with the legendarily messed-up solo in the Velvet Underground’s “I Heard Her Call My Name” and then added four fuzz pedals to it, creating modern art! RIP Jack Taylor. There is also Nick Diablo of Viva L’American Death Ray Music, The Drags, The Makers, Tim Feleppa, Gasoline… This is quality ’90s garage rock, still raw and vital as ever.  This rerelease coincides with McCarthy’s new edit of the film. Southern sci-fi trash has never looked or sounded so good.) 25.00


TAPES

NISSES NÖTTER - Knäckta Nötter (Outsider Classics) TAPE (doomtown - After the first release on Outsider Classics, the Missbrukarna - Krigets Gentlemän tape, it's a great honor to reissue another timeless Swedish hardcore punk classic. This time it's Nisses Nötter, a band whose story began in the suburbs of Göthenburg back in 1983, when four young school friends decided to start a band, named Mums Gonorre. The band later changed its name to SIB 69, and then to Nisses Notter a month later. The final renaming also had them switch to raw and energetic hardcore punk, they started playing shows and entered the studio to record "Knäckta Nötter", published in 1984 on the legendary Ägg Tapes, a label that put out a bunch of tapes of cult bands such as Moderat Likvidation, Riistetyt, Mob 47, Sotlimpa and The Bristles. Today, Nisses Notter are considered a classic band, with members who were 12-13 years old when they started, also making them the youngest Swedish hardcore punk band of that period. Each tape comes with a 12-page A5 booklet with photos and lyrics. The tape is limited to 175 copies.) 6.00

NUCLEAR SPRING - Discography TAPE (doomtown - No need for a long introduction into the mad world of NYC's Nuclear Spring. Since the first demo tape released back in the 2011, the band had spawned one 12", a Euro tour 7" and one of their live radio session tracks appeared on Maximum Rocknroll's Sound The Alarms! compilation.  The band lasted only three years, and while the band members moved on to form La Misma, Ajax, Exotica, Vanity and tons of other great bands, Nuclear Spring left their mark as one of those bands that had perfectly captured the sound of British suburbs circa 1977-82 whilst adding some freshness and originality to it. All of their releases remain modern classics for sure, at least in our opinion, cause this band definitely had something to say.  The discography tape contains all of the mentioned releases plus one unreleased track!  Limited to 175 pro-dubbed tape copies. Each tape comes with high-quality risograph printed A4 J-card with all lyrics included! Layout: Bodež ) 6.00

PSIHOKRATIJA - Album Mentalnih Fotografija TAPE (doomtown - After the Trobecove Krušne Peći LP and Quod Massacre CS, here's yet another Yugoslavian repress from the eighties in our catalogue, and hopefully, one of many to come. PSIHOKRATIJA were a duo from Belgrade, Serbia, playing a gloomy hybrid of minimal-synth, darkwave and brooding new wave. After that, Gorjan Krstić recorded a second album with different people, that was never released and shortly after that, PSIHOKRATIJA disbanded and faded into obscurity.  The tape begins with 'Who Is Alive, Who Is Dead', which is the only track here sung in English, the rest is in Serbo-Croat and these unique sounding vocals and languages helped Psihokratija stand apart from many other artists in the same music batcave of that era.  If you're into the darker side of eighties music, you should not skip this brilliant hidden gem. As far as references go, Psihokratija's atmospheric and haunting sound could appeal to fans of early Cure, new wave era Killing Joke or the classic Sisters of Mercy sound.  Recorded in Belgrade in 1988 and originally self-released (also in 1988) only on tape, "Album Mentalnih Fotografija" (which roughly translates to 'Mental Pictures') was the only published release from Psihokratija. Doomtown's version is the official reproduction of the 1988 tape remastered from the original master tapes and approved by the band and Gorjan Krstić. Limited to 125 copies!) 6.00

WILD FORMS - s/t TAPE (doomtown - Wild Forms are all about furious yet catchy hardcore punk armed with desperate yelps, mainly influenced by living in modern day Croatia. Musically, through these seven songs, you can hear a wide spectrum of international hardcore punk influences from the golden era, with a soft spot for Scandinavian hardcore and the almighty Poison Idea. Basement music for basement dwellers! The tape is limited to 135 copies and each tape comes with a one-sided lyric sheet. Artwork by Wild Forms' very own Bodež. ) 6.00
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ADAGIO830
J'suis international... t'es number one à Auxerre
 
Messages: 784
Inscription: 31 Déc 2005, 14:38
Localisation: Berlin

Re: Bis Aufs Messer October news

Messagepar ADAGIO830 » 19 Oct 2018, 12:50

Hi. another week passed and we got lots of amazing new titles in stock like new releases from HOLIDAYS records (FOUR HORSEMEN, HENNING CHRISTIANSEN, KONSTRUKT etc), the amazing FRANCOIS BAYLE - Electrucs ! LP & BERNARD PARMEGIANI - Mémoire Magnétique, vol​.​1 (1966​-​1990) LP re issues, the great RAINFOREST SPIRITUAL ENSLAVEMENT - Red Ants Genesis DLP re issue via Hospital, the new TIDAL SLEEP & KARIES LPs, JOHN CARPENTER - Halloween OST LP. KURT VILE - bottle it in DLP, ART ENSEMBLE OF CHICAGO - Les Stances A Sophie (1970) LP on Soul Jazz. Also lots of restocks by A Silver Mt Zion, Sleater Kinney, Shellac etc …

we also have MOUNT EERIE / WITTR on its way, LITHICS LP, new MOUNT EERE live in Utrecht DLp, a bunch of MOUNT EERIE restocks etc etc. Should be here Monday.

And also some adagio830 returns like the SECRET SMOKER - Terminal Architecture LP, some LORD SNOW LPs, LEVITATIONS - dust LP, RAT COLUMNS - do you remember real pain? LP , some LICH / MAN HANDS split 10“s, LOCKTENDER / BRIGHTER ARROWS split 10“ …

also ADAGIO830 uploaded two songs of the upcoming MONPLAISIR LP which will be another split release with ECHO CANYON

https://adagio830-records.bandcamp.com/ ... -agreement

and don´t miss the GHOST BAG & TINE FETZ, FLETCHER TUCKER & CHUCK JOHNSON show next month

https://www.facebook.com/events/1748371251917580/


Thank you
 
 Robert & Norman
 
mailorder@bisaufsmesser.com
www.bisaufsmesser.com
http://www.facebook.com/BisAufsMesserRecordstore?ref=ts
https://adagio830-records.bandcamp.com/
http://soundcloud.com/adagio830




7“

PRIMORJE - Etymology 7“ (holidays - Edition of 100. Primorje is the most recent collaboration between Giovanni Donadini (Ottaven, Fantamatres) and Matteo Castro (Lettera 22), focusing on the use of the 4 track recorder as their only instrument. Tape loops, field recordings, dub echoes, damaged beats and downgraded tempos creating two short, minimal and slithering compositions.) 10.00

LP

ART ENSEMBLE OF CHICAGO - Les Stances A Sophie (1970) LP (soul jazz - As the legendary Art Ensemble of Chicago celebrates it’s 50th anniversary, Soul Jazz Records are releasing a new fully re-mastered edition of the group’s seminal album ‘Les Stances a Sophie’ (1970), which features the great singer Fontella Bass on the opening track ‘Theme de Yoyo’, a stunning 9-min opus that continues to startle and compel new audiences today. Drawing upon the mutual soul and funk background of Bass and then husband Lester Bowie with all the power of the Art Ensemble of Chicago’s collective musicianship on board, ‘Theme de Yoyo’ is powerfully funky, soulful and free at the same time, a classic fusion of black music styles. The Art Ensemble explored many areas of popular black music during their career. For instances their ‘Ancient to the Future: Tribute to the Masters’ album covered songs by artists such as James Brown, Fela Kuti and Jimi Hendrix. This however, remains a pinnacle moment in their exploration of black dance music. The Art Ensemble of Chicago, are one of the most important and radical jazz groups to come out of the USA. ‘Les Stances a Sophie’ was recorded in Paris in 1970 and features the regular Art Ensemble members (Lester Bowie, Joseph Jarman, Roscoe Mitchell and Malachi Flavors) alongside newly recruited drummer Don Moye and guest Fontella Bass on vocals and piano.  Fontella Bass already had a successful career as a soul singer - ‘Rescue Me’ was her biggest hit in the sixties. She and Lester Bowie first met in St Louis while working with legendary rhythm and blues producer Oliver Sain. Vocals (and lyrics), alongside a constant drum and bass beat, were new elements to the music of the Art Ensemble at this time. ) 25.00

AXIS OF DESPAIR - Contempt For Man LP (southern lord - Axis of Despair features former and present members of such bands as Nasum, Coldworker, Infanticide, Volturyon, Livet som insats, Nervgift and Overtorture. To be exact: The band was formed by former Coldworker members Anders Jakobson (drums), Oskar Pålsson (bass) and Joel Fornbrant (vocals) in the end of 2013. About half a year later the line up was completed by Livet som insats member Kristofer Jankarls playing the guitar. The band continued to work on songs until the late spring of 2015 when the first 12 tracks were recorded to be released on two, sort of, conjoined 7″ EP’s. “Contempt For Man” is the swedish grind super-groups first full-length album. It is a pulverizing bull dozer of intense grind-core.) 18.00

BERNARD PARMEGIANI - Mémoire Magnétique, vol​.​1 (1966​-​1990) LP (transversales - Never before released ! Transversales Disques is very glad to announce the release of « Mémoire Magnétique, vol.1 » spanning 1966-1990, revelatory collection of commercial and secret music by electronic music pionneer Bernard Parmegiani.  Lost tapes & unpublished recordings by Bernard Parmegiani. Remastered high-resolution audio transferred directly from the original tapes. Exclusive liner notes and pictures. ) 25.00

FOUR HORSEMEN - Nada Canadada LP (holidays - The Four Horsemen was a sound poetry group of Canadian poets composed of bpNichol, Rafael Barreto-Rivera, Paul Dutton and Steve McCaffery. They started performing in 1970 and quickly moved from radical improvisation to the use of a notational system, with an effort to develop a scoring method adequate to the group's dynamic and visceral sound show. The four-piece soon became a living workshop with regular weekly rehearsals leading to the best refined group-conceived and group-written compositions. Third volume in a series of sound poetry coordinated by Luca Garino, Nada Canadada - nine outbursts of controlled madness dedicated to the memory of Hugo Ball - is indeed one of the highest examples of poetry as product of a community. "The number of words we still use in our poetry comes as somewhat of a surprise to us, especially in the light of this album. Strictly speaking we cannot call what we do sound poetry if by it is meant that poetry which has its basis in non-verbal, vocal, and sub-vocal elements of sound. Nor are we into the electronic ramifications of sound in any sense beyond doing a record. We are in fact reluctant to pin the aesthetic continuum on which we operate to the first wall available. Still, perhaps the best name for what we do is what it always has been – poetry". (Rafael Barreto-Rivera) 250 copies on black, embossed lettering, 16 page booklet) 18.00

FRANCOIS BAYLE - Electrucs ! LP (tansversales - On the occasion of the 60th anniversary of the GRM, the composer François Bayle introduces us to some of his unpublished archives :  - "Electrucs !" (1974) composed on a Synthi AKS synthesizer  - "Foliphonie" (1974) inspired by "La Grande Polyphonie".  - "Marpège" (1995) dedicated to Bernard Parmegiani.  - Also includes "Cinq dessins en rosace" (1973). ) 25.00

HENNING CHRISTIANSEN - Stone-song DLP (holidays - A one-hour performance presented in 1990 at the 8th Biennale of Sydney (The Readymade Boomerang: Certain Relations in 20th Century Art) where time is being scanned and animated by matter and where the genius of Henning Christiansen - with fellow artist Bjørn Nørgaard and Ken Unsworth, to whom this performance is dedicated - establish a deep dialogue with the nature (of sound) watching the time, stone on stone, being at the same time actors and audience of its ephemeral and violent manifestations. What time is it? Is it what time? Time is it what? Released in collaboration with the Henning Christiansen Archive.) 25.00

JOHN CARPENTER - Halloween OST LP (sacred bones - When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies. The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved. “We wanted to honor the original Halloween soundtrack in terms of the sounds we used,” Davies explained. “We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano.” Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands. “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision,” Davies said. “He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything.” For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn’t composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars. “It was great,” Carpenter said of the experience. “It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director's head. I was proud to serve David Gordon Green’s vision.” For Cody Carpenter, John’s son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around.) 22.00

KARIES - Alice LP (tcm - Im Herbst 2018 veröffentlichen KARIES nach „Seid umschlungen, Millionen“ und „Es geht sich aus“ ihr drittes Album mit dem Titel „Alice“. Das neue wirklich ganz vorzügliche Werk wurde aufgenommen, produziert und gemischt von Max Rieger und damit auch alles in der Familie bleibt war für das Master erneut Ralv Milberg verantwortlich. Mit „Alice“ emanzipieren sich Karies ein wenig von den beiden Vorgängeralben. Sie haben scheinbar ihren Schwermut, der beim letzten Album noch aus jeder Minute hervorgebrochen ist etwas hinter sich gelassen – warum scheinbar? Weil uns sowohl die neu entdeckte Verspieltheit und die Finesse der Arrangements als auch das für Karies Verhältnisse absurd farbenfrohe Cover an die Hand nimmt und uns auf eine falsche Fährte lockt – Das ist die neue Seite von Karies, irgendwie aufgeregt und bunt. Das klingt auch alles etwas zuversichtlicher, bis man dann den Texten lauscht. Da ist es weiterhing düster und eindeutig zweideutig.) 17.00

KONSTRUKT - Oryantal LP (holidays - Istanbul based multi-instrumentalist Umut Çağlar founded the Turkish free jazz band Konstrukt at the beginning of 2008. Since then the band went through many line-up changes and collaborated with with the likes of Peter Brötzmann, Joe McPhee, William Parker and Keiji Haino, continuously evolving its sound. The band is currently formed by Çağlar, Korhan Futacı, Apostolos Sideris, Erdem Göymen and Berkan Tilavel and this EP - recorded at Hayyam Studio in Istanbul in 2017 with two drummers and a double bass player on board - shows a more melodic and groovy side of the band. The session explores their rhythmic roots with the use of traditional instruments such as bendirs, tefs and double reeds, trying to carry these sounds to the future with the help of electronics.) 16.00

KURT VILE - bottle it in DLP (matador -KURT VILE - bottle it in DLP (matador - Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next. Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music— not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on “Hysteria,” how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of “Mutinies,” how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to “Come Again.”) 23.00

OFEGE - Try And Love LP (todal waves - The ultimate in West African psychedelic funk. The first of their kind, Ofege was a band of college students from St. Gregory’s College, in Lagos, Nigeria. I read somewhere that they were “influenced by Nigerian bands BLO, The Funkees and the Black Company as well as overseas bands like Led Zeppelin and Santana” but I’m not sure if that actually begins to approximate their sound. I suppose the closest kin they had were BLO, but Ofege were a bit more raw, a bit more amateur (in a good way). Like Shorty and The Jr. Kools in comparison to Kool and the Gang (or something like that. Whatever the case, Ofege succeeded in creating a debut album drenched with fuzz guitar, plaintive, wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It’s a unique, raw, beautiful take on the psychedelic sound. Though they recorded a few more albums in the mid to late 70s which are ostensibly “funkier” than their debut, none possess the charm of Try and Love. Check “Gbe Me Lo,” the sole instrumental on the album and the reason that crusty psych geezers shelled out four figures for this album before the days of eBay.) 30.00

RAINFOREST SPIRITUAL ENSLAVEMENT - Red Ants Genesis DLP (hospital - Low Jack & Equiknoxx join Dominick Fernow’s Rainforest Spiritual Enslavement on a new double vinyl expansion of ‘Red Ants Genesis’. Recorded in winter 2017, ‘Red Ants Genesis’ finds the Hospital Productions boss discovering strength in collaboration following the triumph of his ‘Ambient Black Magic’ classic, which was conjured with the crucial assistance of Juan Mendez a.k.a. Silent Servant. Here, he works with Phillippe Hallais aka Low Jack and of Editions Gravats, who also tags in his pals Gavsborg and Time Cow from Jamaican digidub futurists Equiknoxx for a killer new version of the title track. On the tape’s original four tracks, Low Jack transmogrifies Fernow’s high volume microphone recordings of synthetic field ecologies with masterful sleight of hand in-the-edit, resulting in a hyperreal detachment and realignment of spatial proprioceptions executed with exquisite textural tactility. It’s far more oblique and desiccated than the relatively lush ‘Ambient Black Magic’ outing, rendering the stark durational immersion of their 30 minute ‘Red Ants (Mics)’ split over the first disc, while Low Jack’s percussive edits really come into play on the utterly gutted ’Shields Ferns / Brown Pine Magic’ and the slow, febrile push of ‘Papua Land (Live Edit). No doubt one of the biggest attractions here is the curveball of an Equiknoxx remix of ‘Red Ants Genesis’. Surely one of the first meetings of Jamaican dancehall and dark ambient in existence, it’s a spellbinding piece of dub physics that demonstrates the endless, mutable imagination of Gavsborg and Time Cow in haunting and deeply mystic effect.) 29.00

R.O.B.O. - Negacion LP (Feminist old school punk from Madrid / Spain. 10 new songs, all killer, no filler. Feat. members and ex-members of Aerobitch, Denak, Sudor, Muletrain, Moho, etc.) 12.00

THE TIDAL SLEEP - Be Kind LP (tcm - In the writing process that led to our latest full length "be water" we wrote an absurd amount of songs. When we felt ready, we entered the studio and recorded fifteen songs in total of which eleven made it on „be water“. After discussing the order of the songs at length we came to the conclusion that the remaining four songs would neither fit the concept nor the final flow of the album. But somehow these songs created their own coherent composition when looked upon as a whole. We believe that these songs deserve their own release since they fully represent our writing abilities including a different approach on the spectrum of melodic heaviness. You’re holding the result in your hand right now - our new EP.) 16.00

UNIVERSAL EYES - Four Variations On ‘Artificial Society' LP (lower floor - A line-up many may have expected never to see in the year of our lord 2018… Universal Eyes is a combination of Universal Indians and Wolf Eyes, and in this case that means Aaron Dilloway alongside John Olson and Nate Young again, as well as the vibrant power of Gretchen Gonzales-Davidson. Four Variations on ‘Artificial Society’ is a delightfully deep and murky suite of sounds: you know you’re going to love it. From Lower Floor Music.) 25.00

URSULA BOGNER - Recordings 1969-1988 LP (faitiche - Gatefold LP with photos, text and images of Bogner's linocut prints on the inner sleeve It seems almost incredible that Ursula Bogner’s musical talents should have remained undiscovered until now. Yet in view of her biography, this might have been just as inevitable.  It was on a flight to Vilnius that I met Sebastian Bogner, Ursula’s son, who told me he was on a business trip for a pharmaceutical company. The usual small talk soon led to the topic of his mother Ursula, who also ‘liked to play around with synthesizers’, albeit purely on an amateur level and in a dedicated music room fitted especially for this purpose in the parental home. Among her acquaintances, it was simply considered one of her many eccentric hobbies and not paid a great deal of interest.  At a cursory glance, Ursula Bogner’s life seemed simple and bourgeois to the core: a pharmacist, wife and mother, firmly ensconced in a detached house. A setup that made her obsession with electronic music all the more bizarre, an obsession that drove her to build her own studio for extensive recording and experimentation. ) 20.00

WILD HUNT - afterdreams of the reveller DLP (vendetta . feat. members of VOID OMNIA and DISPIRIT "Man, this is an interesting one. Afterdream Of The Reveller is a unique sonic journey, taking you across mythical landscapes and forcing you to embrace the bleak unrealities of the black metal soundworld. Adventurous, titanic and filled to the brim with all sorts of interesting musical ideas this album is a thrilling journey. There is something punishingly perfect about Wild Hunt, their massive sounds and transcendent blasts of nihilistic black metal feed into something greater. With doom metal fringes filling out ritualistic blasphemy it's hard not to fall in love.  The thing that really gets me here though is the quality of the songwriting. While Wild Hunt certainly understand how to craft some really twisted riffs and punish the listener with hooks they also step into the groove now and again. Beyond that, there is a lot of melodic content here to sink your teeth into. They use this record to sort of paint themselves as a group who can tackle it all, but never stray too far from their black metal roots. It makes for a thrilling listening experience. It's rare you find black metal this dynamic that isn't also a little bit silly, but Wild Hunt seem to revel in extremes and use it to guide you through a wicked path.  I've always had a passion for black metal records you could get lost in. On a sleet filled nightmare of a day like today, Wild Hunt seem especially fitting, carrying me beyond the hyperborian wasteland that Brooklyn has become and into a dark fantasy. While this album is not without its moments where it pushes a little too far, I can't help but to admire the drive and 'togetherness' of this release. It makes Afterdream Of The Reveller the sort of thing that you want to come back too and truly enjoy, no matter how far removed you may be." (towguysmetalreviews)) 19.00

WILLIAM BASINSKI + LAWRENCE ENGLISH - Selva Oscura LP (Col. Vinyl) (temporary - For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters – and the strange familiar of lives lived in transit – that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante’s Inferno. Literally translated as “twilight forest,” it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiseled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field – as rich as the suggested place from which its title is drawn. Selva Oscura is dedicated to Paul Clipson, a close friend of both William and Lawrence, and whose work celebrated the wonder that is becoming lost in experiences that lie in excess of our everyday understandings. ) 21.00

ZAHRADA - same LP (Zahrada is a new band from Nijmegen, Netherlands. Featuring members of Smudjas, Zegota, Landverraad, …) 12.00


MAGAZINES

WIRE - #417 | November 2018 MAG + CD (Inside this issue: Windrush Vibrations: The arrival of HMT Empire Windrush at Tilbury Docks in Essex in 1948 marked a new era of Afro-Caribbean immigration that changed UK music for (the) good. With London’s Barbican marking the 70th anniversary in a Windrush concert this month, Jason Yarde, Lez Henry, Mykaell Riley, Anthony Joseph and others reflect on seven decades of black British music Mhysa: The alter ego of interdisciplinary artist E Jane strikes a tender blow for radical black femininity. By Tirhakah Love Guttersnipe: The Leeds duo process extreme emotions to undermine masculinity via noise, rhythm and patterns of interference. By Abi Bliss Bone Head: California raised producer keeps it kitsch. By Steph Kretowicz Anja Kanngieser: The sound artist and radio producer pits spoken word and field recordings against climate change. By Lewis Gordon Preacherman: The synth odysseys of Tim Jones hit back at a world of conspiracy. By Claire Sawers Hairbone: Chaos reigns for the New York City performance trio. By Kurt Gottschalk Global Ear Barunga: Indigenous art is thriving in Australia’s Northern Territory. By Marcus Boon ….) 8.00
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