BIS AUFS MESSER NOV news (Molly Nilsson, Eli Keszler, False,

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BIS AUFS MESSER NOV news (Molly Nilsson, Eli Keszler, False,

Messagepar ADAGIO830 » 09 Nov 2018, 18:00

h. welcome to our first newsletter for November. Filled with tons of great new releases like the new FALSE - Unitled DLP, two amazing re issues on Aguirre from INFINITE SOUND - Contemporary African-Amerikan Music LP and BLACK ARTIST GROUP - In Paris, Aries 1973 LP, new stuff and restock from PAN, the long awaited DE FABRIEK re issues, the killer new J MASCIS - Elastic Days LP, ELIANE RADIGUE - Jouet Electronique / Elemental I LP, the new ELI KESZLER DLP, CHARLES BRADLEY - Black Velvet LP, the new MOLLY NILSSON - Twenty Twenty LP and many moreeeee


Thank you
 
 Robert & Norman
 
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7“

CUNTROACHES - EP 7“ (eratology Sound & Vision and Instruments Of Discipline are joining forces to unleash the first vinyl release of Berlin’s infamous noise rock squad CUNTROACHES, previously only available on tape. A real standout in a time oversaturated with what is called „extreme music“, Cuntroaches are living up to the term by spewing out tracks that are simply unparalleled by any current band in their intensity and viciousness. At times reminiscent of the metal depravities of BLASPHEMY, NUCLEAR DEATH or ARCHGOAT and vanguards of sonic warfare such as SWANS and HARRY PUSSY but at no point indulging in any worship, the six tracks on this EP are a welcome reminder of the musical urgency of which Berlin was once home to.) 6.00

PISSE - Hornhaut Ist Der Beste Handschuh 7“ (phantom - Neue EP mit 4 Songs, die ordentlich brettern! Generell hochgeschwindig mit Schreigesang, scharfer Schrammelgitarre und viel schrägem Orgel-Einsatz.) 6.00


LP

AMNESIA SCANNER - Another Life LP (PAN - 'Another Life' is the debut album from Amnesia Scanner, the Berlin-based music duo, performing arts group, experience design studio and production house, created by Finnish-born Ville Haimala and Martti Kalliala. Founded in 2014, Amnesia Scanner's approach is informed by a unique perspective on technology and the way it mediates contemporary experience. System vulnerabilities, information overload and sensory excess inform their work, which has found a home in both clubs and galleries. Building on their mixtape 'AS Live [][][][][]' (2014), Amnesia Scanner’s critically acclaimed audio play 'Angels Rig Hook' (2015) laced a potpourri of dancefloor tactics with a machinic narrator. Their dual EPs for Young Turks, 'AS' and 'AS Truth' (2016), distilled this immersive environment into an abrasive collection of cryptorave tools. The most striking detail of ‘Another Life' is Amnesia Scanner's use of both human and inhuman voices. The latter is provided by the latest addition to the production unit, a disembodied voice called Oracle, which represents the sentience that has emerged from Amnesia Scanner. Oracle's vocal performance ranges from exuberant mania to anxious dread and beyond. Coupled with the pop song structures that Amnesia Scanner employs for the first time, the avant-EDM productions of ‘Another Life’ evocatively explore a schizophrenic present marked by narratives of a slow apocalypse or salvation via technology. Indeed, the lullaby of 'AS Another Life' swings between trill hope and casual threat, lending a precarious gait to the song's staggering rhythm. The album's first single, 'AS Chaos', is its most powerfully direct track, with Pan Daijing’s English and Mandarin vocals taking over for Oracle. At its most intense, as in ‘AS Faceless’, Amnesia Scanner's doombahton overheats into nu-metal-gabba. Amnesia Scanner has presented work at art institutions such as ICA London, HKW Berlin, and the Serpentine Gallery Marathon in London. They collaborate with PWR Studio for their design and visual direction. The AS live experience is co-created with Stockholm-based Canadian designer Vincent De Belleval. When unplugged from the Amnesia Scanner stream, Haimala works as a composer and producer with a wide range of musical and visual artists, and Kalliala co-directs the think tank Nemesis. The album is mastered by Jeremy Cox, featuring photography by Satoshi Fujiwara, and visual direction from PWR Studio.) 23.00

BENOIT PIOULARD - Slow Spark, Soft Spoke LP (duw - Shortly after releasing his highly acclaimed ‘The Benoît Pioulard Listening Matter’(Kranky), Pioulard left on tour to Europe in order to promote the album. This tour took him to several distinctive places ranging from urban Brussels to rural France and the mystic capital city of Iceland, Reykjavik. Once returned to Seattle, these new impressions and memories formed the inspiration to make ‘Slow spark, soft spoke’. Not surprisingly, the album continues in the same vein as his tour cd ‘Lignin Poise’ - which was repressed on vinyl by Beacon Sound - and is characterized by slowly moving lo-fi ambient textures. The album reveals Pioulards most melancholic side and once again shows his capabilities to bring beautiful sonic narratives with only a few instrumental layers. ‘Slow spark, soft spoke’ was initially released on tape on Dauw but sold out quickly during pre-order. After having received only sublime reviews and tons of request to re-issue the album, we now decided to give it a well deserved vinyl repress. For this vinyl edition, Pioulard decided to add 2 new tracks in addition to the 4 initial ones. All together, the initial EP and the 2 new tracks (Athanasy, 1993 + With this, I disappear) form a consistent full length which adds to his impressive and ever growing catalogue.) 23.00

BLACK ARTIST GROUP - In Paris, Aries 1973 LP (aguirre - LP: Edition of 500 copies - Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG. It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists’ Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester’s younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group’s own label. Since the formation of Black Artists’ Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.) 23.00

CAUDAL - Let's All Take The Yellow Pills LP (käptain - Caudal is a trio of Canadian guitarist Aidan Baker, Irish bassist Gareth Sweeney, and Columbian drummer Felipe Salazar, formed in 2012 in Berlin, Germany. The trio plays 'trance punk,' combining Baker’s multi-layered, heavily affected guitar with Sweeney and Salazar’s motorik, propulsive rhythms, creating music which draws from krautrock, mathrock, post-punk, and spacerock influences. Baker also performs with the dreamsludge duo Nadja and the collective Hypnodrone Ensemble; Salazar also plays in the no-wave trio Muerte En Pereira and Hypnodrone Ensemble; Sweeney also plays with the post-post-punk trio Faulty Rabbit. Caudal released their debut album, Forever In Another World, on the environmental charity label, Oaken Palace Records, in 2013. Their second album, Ascension, was released in September 2014 by Consouling Sounds, a their third full-length, Fight Cry Fight, came out in April 2018 on Drone Rock Records/Katuktu Collective.  The EP Let's All Take The Yellow Pills, released in 2016 as a limited edition CD and only available directly from the band, was recorded during the same sessions as the material from Fight Cry Fight. But whereas Fight Cry Fight is quite structured and composed, the tracks on ...Yellow Pills are much more free-form and improvisational, eschewing structure for texture, form for atmosphere... The vinyl rerelease on Kapitän Platte is limited to 300 copies and comes with a silk-screen printed banderole including download-code and senseless insert. ) 17.00

CHARLES BRADLEY - Black Velvet LP (Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership. It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal. Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.) 18.00

CYANIDE THORNTON - s/t LP (bedroom suck - The eagerly anticipated self-titled debut album from Naarm (Melbourne) band Cyanide Thornton. Featuring members of Two Steps On The Water, the band was founded in early 2016 and has been steadily gaining traction in Melbourne's alternative rock circuits.While incorporating elements of folk and rock, Cyanide Thornton transcends its composite parts, moving into a space of raw emotion and fierce determination. Ellah Blake (drums) and David Pesavento (bass) provide understated yet resolute punctuation for each song, holding together the music with a remarkable tenderness and affection, and providing a cradle for Sienna Thornton's masterful and harrowing lyrics and guitar work. Thornton's voice is at once wistful and melancholic, painting narratives with a tender immediacy. The album evokes a sense of magical realism, with its lyrics transforming painfully human experiences of love and loss into magical and ethereal moments. Cyanide Thornton is a record wreathed in tenderness, honesty and intimacy, and will guide you from the dark corners of your mind to somewhere unearthly and supernatural. "There's something about this recording from Melbourne's Cyanide Thornton that reminds me a little bit of Painful-era Yo La Tengo in its patience and confidence - exploring time as secondary, irrelevant in the pursuit of getting the most out of the strongest ideas in a song." - Eucalyp) 25.00

DAME AREA - Centro Di Gravitá LP (burka - First offering from this duo which operates between two poles: Industrial tribalism and synthetic minimalism. For fans of Malaria, Liaisons Dangerouses, Suicide, Muslimgauze … Just listen and enjoy the travel into a jungle of cables, wires and grease) 16.00

DE FABRIEK - Schafttijdsamba LP (burka - Reissue of the first De Fabriek album originally self-released in 1982. A masterpiece of minimal experimental music. It has been remastered and includes a new artwork done by the band. Limited edition of 300 copies. The digital download includes 2 songs that have been removed from the vinyl edition due to the actual lenght limits.) 16.00

DE FABRIEK - Made In Spain LP (burka - Official reissue of this experimental industrial electronic classic originally released by Discos Esplendor Geométrico in 1987. "After 41 years you should know De Fabriek means The Factory, a name not chosen because of a love for Andy Warhol or the UK label of the same name (which hardly existed at the time De Fabriek started), but because of what a factory represents; there are workers, creating a small portion of the final product. In the early days these workers were a bunch of friends whom knew each other from the city of Zwolle, and as such they recorded their first LP ‘Schafttijdsamba’ at home in 1980. After that the group splintered and expanded, odd as it may sounds. The original core went each own way and De Fabriek sought outside help. This was a time of independent cassette culture, home production of music, corresponding and mail art and so it happened membership, co-workers in De Fabriek lingo, were fanatical home tapers around the world, with a director at the helmet in Zwolle, albeit not a director not in the capitalist sense of the word, but someone directing the sound. Listening to the cassettes received, deciding upon order and layering of various sounds. Some of the releases from De Fabriek were recorded at home still, but for record releases they now used studios. For ‘Made In Spain’ De Fabriek headed out to Nijmegen, Studio De Tempel, and home of Mekanik Kommando. But workers and a director is not enough for a factory, it also needs machines, and machines were plenty around in De Tempel. Following a decision on what goes where along with what other received contribution, and then mixed together, using the vast amounts of effects racks available in this studio, which put their fingerprint on this record. ‘Made In Spain’ was first released by Discos Esplendor Geometrico and is a expansion of an earlier release ‘Mont Cantis’, slightly the same yet significantly different and exploring the industrial sound a bit further, taking cues no doubt from the music of Esplendor Geometrico, taking matters a bit further and deeper, to stay within the theme of old mines in the German Ruhr area that runs through these ten pieces, this is a record that at that time saw De Fabriek fully connecting to the industrial scene without forgetting their earlier post-punk and krautrock roots; there is a line from the Ruhr area to Spain via the highly minimalist rhythm approach. ‘Made In Spain’ is a wild ride, almost like that scene from Indiana Jones & The Temple Doom, the Mine Car Chase. You feel the speed, the railway lines cracking, and the carts trembling and shaking, you feel the heat, the mayhem that you can also find in a foundry. Yet unlike so many other industrialists back in the day, De Fabriek always remains to have some melody to be part of their music. It is not the noise for the sake of noise. This is somehow a very pleasant factory." - Frans De Waard Sept 2018) 16.00

ELIANE RADIGUE - Jouet Electronique / Elemental I LP (alga margin - Alga Marghen presents the new edition of Eliane Radigue's "Jouet Electronique" (1967) for feedback on magnetic tape and "Elemental I" (1968) for feedback of natural sounds on magnetic tape. This LP was first issued in 2010, and it's now presented for the first time with its own specific artwork and layout. Both works were recorded at Pierre Henry's Studio Apsome in Paris. Between 1967 and 1968, Radigue was Henry's assistant, mainly for the editing of L'Apocalypse de Jean (1969). Henry also put her in charge of organizing his sound archive; Radigue enjoyed doing this work, even if it took a long time. She decided to set the machines of the studio to do some work of her own. "Jouet Electronique" and "Elemental I" were born this way during her time as an assistant; working with feedback is something that Radigue learned through Henry. Do you remember Henry's Voyage (1969)? There's that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback; one has to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds. The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. Fine-tuning could yield beautiful results: low pulsations, high-pitched sounds (sometimes both at the same time), or long sounds. All of these could be slowed down or accelerated, which gave beautiful source material. With "Jouet Electronique", Radigue had a lot of fun, hence the title. As far as "Elemental I" is concerned, it was the first attempt at something which was important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. Using it, Radigue built a minimal sound library, consisting of not more than ten reel tapes. This was the starting point; in 1968 she used these recordings for her work with two reel tape machines. New edition of 200, with liners by Radigue and portrait photos by Arman.) 27.00

ELI KESZLER - Stadium DLP (shelte r- 2LP: Incl. printed inner sleeves, black vinyl, ltd. to 600 copies NewYork-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author La´szlo´ Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize– winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never. “Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space. Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer — he’s a world-building percussionist.”) 28.00

FALSE - Unitled DLP (At long last, we have the new album from the Minneapolis black metal project, False. After an Untitled EP in 2011, and a split LP with Barghest in 2012, they now return with their first proper full-length album, once again an untitled release. Throughout the sixty-minute run time of the album, False dive deeper into the realm of visceral and relentless black metal for which they’ve become well-known. Their live sound and ferocity is finally captured here, revealing a whole new depth and darkness that has only been hinted at on previous recordings. This album is far from a simple exercise in listening, and more akin to a journey to be experienced. The works contained therein are incredibly bleak and emotionally powerful, with a long lasting impact. This Untitled album was recorded live, mixed, and mastered by Adam Tucker at Signaturetone Recording, with artwork by Nicole Sara Simpkins.) 25.00

HYPNODRONE ENSEMBLE - Plays Orchestral Favourites LP (wolves and - Hypnodrone Ensemble was formed in Berlin in 2014 by the Canadian experimental/ambient guitars Aidan Baker (also of Nadja) and Eric Quach (aka Thisquietarmy), along with the drummers David Dunnett, Jérémie Mortier (also of Alice In The Cities, Nearest Gas Station), and Felipe Salazar (also of Caudal). A quintet at its core, though occasionally expanding or changing members, the group creates free-form, semi-improvisational studies in rhythmic, psychedelic, atmospheric spacerock. Hypnodrone Ensemble released its self-titled debut, a live recording from NK in Berlin, on Consouling Sounds in 2014 and followed that up with the studio album, The Shape of Space, released on Calostro Recordings and Little Crack'd Rabbit Records in 2015. Following an expanded line-up performance in 2016 in Berlin, the group returned to the studio in 2017 to record 'Plays Orchestral Favourites' as a 9-piece group, with Simon Goff (also Molecular, Bee And Flower) on violin, Duchamp on baritone guitar, Felix-Florian Tödtloff (ex-Sun Worship) on bass, and Diego Ferri on synths.) 17.00

INFINITE SOUND - Contemporary African-Amerikan Music LP (aguirre - Conscious avant-garde free jazz featuring Roland P. Young originally released in 1975 on the eclectical 1750 Arch records. “1750 Arch was a beautiful Spanish-style hacienda,”recalls composer and multi-instrumentalist Roland P. Young. “It had a wonderful recording studio in the basement and the salon was converted into an intimate performance setting.” Young played solo gigs at that venue, in Berkeley, California, and also performed there in a duo with cellist Chris Chaffe. He remembers it as a particularly “transcendent” setting for concerts by Infinite Sound, his trio with singer Aisha Kahlil and bassist Glenn Howell. Infinite Sound’s Contemporary African-Amerikan Music appeared in the uniquely diverse 1750 Arch catalogue in 1975. For Roland Young such a context was not incongruous. Contemporary African-Amerikan Music is a title that positioned the record quite specifically in 1975. But Young shares Buckner’s distaste for labels that fix expectations too rigidly and close down creative possibilities. Culturally and politically the early 70s appeared to Young to be a time of change and spiritual renewal. “There was a vibe in the air that we connected with, along with other kindred spirits world-wide. What appeared to be ‘experimental’ was reaching for sounds and emotions that were unfamiliar. We often performed at rallies in support of various causes: Black Liberation, Women’s Movement, Anti-War Movement, Gay Liberation. While the music came out of the Black Liberation struggle our ultimate goal was a blending of cultures.” In 1968 Young was working as a DJ at KSAN, an underground rock station in San Francisco.. Infinite Sound, and their enlightened host Tom Buckner, were decidedly ahead of the game. - Julian Cowley) 23.00

J MASCIS - Elastic Days LP (sub pop - Near the end of Reagan’s first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis.  A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J’s songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J’s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc)  among others. But the show is mostly J’s and J’s alone.) 19.00

J.Ö.S. - Ultra LP (ideal - LP: Edition of 200, hand numbered - Underground mutant synth music, futuristic and historical at the same time. Even though the music sounds basically like nothing else, connections can been made to the rougher parts of John Carpenter, horror film music as we would have wanted it, or some of those German things from the 70s that we love. Johan Öhman Sollin has been around forever and has released great things in tiny editions on almost non existing labels. He has done stuff in bands like and hidden under names as Johan Rohbau, Time Deleters, Knife And Ape, Minimen and Sphynxs…) 20.00

KODE9 & BURIAL - Fabriclive 100 4LP (fabric - For the 100th and final instalment of the FABRICLIVE mix series, in its current form, two UK pioneers unite for a hypnotic 74-minute mix. Burial and Kode9 are each credited with fostering esoteric, hyperlocal sounds and steering them to global recognition, helping to shape the landscape of contemporary electronic music as we know it. They are also close peers, having influenced each other’s careers immeasurably over many years. FABRICLIVE 100 reaches into obscure corners and a disorienting range of tempos across its 37 tracks. Featuring artists from Africa, China, South America and Japan as well as the Europe and US, the mix draws from gqom, juke and footwork to trance, jungle and grime, as well as a wealth of material that defies categorisation. It covers many of the musical styles that have found their home within fabric’s walls but at the same time looks outward for inspiration. The quadruple vinyl package of FABRICLIVE 100 features 28 of the 37 tracks from the mix.) 38.00

KYLE DIXON & MICHAEL STEIN - Stranger Things: Halloween Sounds From The Upside Down LP (Pumpkin Orange Vinyl! Bringing the Halloween sounds of Hawkins to vinyl for the first time! This LP is the brooding darker atmospheric score from season two only previously available as a bonus download from iTunes. Now on vinyl and ready for Halloween.) 28.00

MAISHA - There Is A Place LP (brown - There’s something universal in the appeal of an escape – of finding somewhere to relax and explore your ideas. It’s a feeling which connects together the different parts of Maisha’s debut album. A deep record which provides grist for serious spiritual rumination, the music prompts internal reflection as much as it reflects the surrounds which shaped it. Each of its tracks provokes a feeling of intense revery which is timeless, on the one hand, but realised through a confluence of sounds and circumstances which are undeniably of the present. The six-piece group, led by bandleader Jake Long, bring a fresh slant to the weighty spiritual jazz tradition. Their 2016 debut EP was released through Jazz Re:freshed (whose weekly shows and record label are an institution for forward-thinking jazz), and were part of We Out Here, Brownswood’s early 2018 record which documented London’s genre-bending, jazz-influenced underground. They’ve been featured on Boiler Room, supported the Sun Ra Arkestra, and played at Church of Sound, a live series that’s quickly become a staple of the emergent scene. The album’s title alludes to a small, secluded park which bandleader Jake Long would often retreat to, whose peaceful surrounds were the setting for regular moments of reflection. It’s also a reference to London. Or to be more specific, the side of London which has helped nurture him and his peers: rehearsal rooms, friend’s houses and intimate venues. Its band members, Amané Suganami, Twm Dylan, Tim Doyle, Yahael Camara-Onono, Shirley Tetteh and Nubya Garcia, the latter of whom played a part in shaping the early sound of the band, are musicians who’ve come through the same circles as Long. It was recorded across three days in mid-2018. The songs have grown out of their live sets over the past year or two, where each of them would take shape in rehearsals to then be tweaked as they worked out different approaches to them in their performances. It’s an organic kind of refinement, and one that’s audible in the music: songs unfold slowly, each of their parts given time to breathe, building up to crescendos which are patiently earnt. It’s possible to trace a personal geography of music, place and memory just through the album’s track titles. On ‘Osiris’, the track’s beguiling melodies are framed in terms of Egyptian mythology, imagery prompted by old books that Long found in his grandparents’ house; ‘Azure’ hints at the blues forms winding their way through the track’s textured wandering; ‘Eaglehurst Place’, where a tense, rhythmic groove drives the track forward, is reference to a house share with musical peers like Joe Armon-Jones, Femi Koleoso and Rosie Turton. Spiritual jazz is a tradition that’s leaden with its own traditions, histories and stories. Maisha carve out out their own style through that weight of expectation: they take stock of that history, channelling the greats like Pharoah Sanders, while filtering their own influences – which range from jazz to Afrobeat – through every part of their musical process. It’s a sound which rests on trance-inducing rhythms, instinctive musical interchange and repeated, deeply enriching melodic refrains. It’s a combination which has made for their own singular sound. ) 27.00

MARY JANE LEACH - (f)lute songs LP (modern love - Mary Jane Leach has played an instrumental role in NYC’s pioneering Downtown avant-garde community since the 1970’s, working alongside peers including Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner and Arnold Dreyblatt, as well as devoting years to the preservation of Julius Eastman’s legacy since his death in 1990. Her vinyl debut Pipe Dreams arrived last year via the Blume imprint. For (f)lute songs, Modern Love is honoured to bring together four pieces composed for flute and voice, spanning a period of over 30 years and triggered by a fascination with sound and performance. As Mary Jane explains: “In the late 1970’s I was practicing playing and singing with tapes that I had made of myself performing long sustained tones. It had started out as an exercise in intonation, and ended up with a fascination for sound phenomena: difference, combination, and interference tones. The first piece I wrote for an instrument that I couldn’t play was Trio for Duo (1985), for live and taped alto flute and voice. I had noticed that my voice matched the sound of the bottom fifth of the alto flute, and so the voice in this piece is sung to sound as much like an alto flute as possible. By using glissandos, more “extra-notated” sounds are created than appear on the page. Bruckstück (1989) was originally written for eight sopranos, but is played on flutes on this recording - using the same pitches, but sounding very different. The piece is polyphonic, with a lot of closely resolving intervals - primarily major and minor seconds. I initially wrote Dowland’s Tears (2011) for nine flutes, thinking of it as a recording project and not a concert piece (it now has a “solo” tenth part added), while Semper Dolens (2018) is for solo and six taped flutes, with sustained harmony and dissonance in mind”. These four recordings feature noted Roman flutist Manuel Zurria, who has worked with some of the most important composers around the world. In 1990 he founded Alter Ego, a leading group for contemporary music in Italy. Numerous composers have written pieces for him, and he has expanded the repertoire even further by re-orchestrating compositions into pieces for multiple flutes, as heard on almost forty albums.) 26.00
MOLOCH - A Bad Place LP (feast of tentacles - Six tracks of pained uneasy sludge. Coming off the back of splits with the likes of Thou, Cloud Rat and Disrotted; Moloch release their 2nd full length LP. Recorded by James Atkinson (Rot in Hell, Gentlemans Pistols) and mastered by James Plotkin. Moloch create a brutal and uncomfortable listening experience.) 15.00

MICHELE MERCURE - Beside Herself DLP (rvng -Beside Herself collects the dream music of Michele Mercure’s self-produced and distributed albums, offered in scarce analog editions between 1983 and 1990. Traversing the DIY cassette trading scene and sensory bending soundtracks for experimental theatre and television, Mercure’s night-lit, minimal synthesizer music expresses an ambitious vision and (simulated) voice swelling from the electronic music substratum of the 80s.) 26.00

THE MEN - Hated: 2008-2011 DLP (sacred bones - NYC’s The Men have made a name for themselves as wayfaring musicians, constantly evolving and eluding their listeners. Before they were genre-hopping through country, post-punk, noise rock, and more, they were applying that experimental nature within the more confined space of punk. Within that genre they were wildly adventurous, playing noise shows, hardcore shows, rock shows, and switching up the instrumentation as they saw fit, while always operating within a general punk ethos. Their first demo was a hand-dubbed and spray-painted run of 32 copies, half of which worked, and their first shows were at New York dives like Tommy’s Tavern, Matchless, and Don Pedro. That hand-dubbed demo kicked off a furious run of creative output from 2008 to 2011, much of which is now collected on the new compilation, Hated. The songs on Hated are pulled from a variety of sources — the debut demo tape, a split with Nomos, a 7", a 12" EP, and a slew of unreleased demos, outtakes, and live recordings. These songs show the huge range and potential of a band still in its infancy, when they were just beginning to blaze the path they’re still on to this day.) 26.00

MOLLY NILSSON - Twenty Twenty LP (night school - “After a cancelled flight I found myself stranded at the Tokyo airport overnight. Between my interrupted bench naps the surroundings found their way into my dreams, particularly the big banners in the departure hall stating: 2020. Not aware that they were announcing upcoming Olympic games, my imagination wandered. 2020, a leap year. The year of the rat, the election. Perfect vision. The year of hindsight. The repetition, the ritual of the superstitious. A spell cast on the approaching future; not yet there, but close enough to be seen with full clarity. The year itself seems to draw a circle around its followers, as to protect anyone who dares enter. And it all begins on a late-Capitalist night…” Twenty-Twenty is Molly Nilsson’s 8th album; the latest opus of an artist in a constant state of development and strength. Twenty-Twenty is about emerging from the husk of your old self, about binning the chrysalis and daring to stand up both to power, and also to your own limits. In 2018, we see the climate changing, democracy crumbling, inequality and injustice erupting. 2020 examines the near future, seeking out clarity, reflection, renewal and opportunity. It contains anthems so tall as to induce vertigo, leaving the taste of Euro Dance in your mouth, albeit without a four on the floor beat. Here, the pop auteur is haunted by the late Prince, channelling Courtney Love and Lou Reed, anger and love. Recorded as ever in her own Lighthouse Studios and co-released with her imprint Dark Skies Association, the record is consistent in strategy and approach to past releases, yet on 2020 Nilsson pushes the limits of what can be said in the scope of a pop song even further. Despite working with used keyboard sounds that evoke memories of a distorted past, the sound is distinctly contemporary. The record drifts between playful punk methods and hi-fi ideas, strikingly clear through the fuzz of a surrounding world painted with reverb. Rather than gracefully dissecting, 2020 rips apart personal neuroses and insecurities, looking for the roots of issues and the equation that, when solved, will produce the future.) 19.00

MOLOCH - A Bad Place LP (feast of - Six tracks of pained uneasy sludge. Coming off the back of splits with the likes of Thou, Cloud Rat and Disrotted; Moloch release their 2nd full length LP. Recorded by James Atkinson (Rot in Hell, Gentlemans Pistols) and mastered by James Plotkin. Moloch create a brutal and uncomfortable listening experience.) 15.00

MOTOHIKO HAMASE - Reminiscence LP (studiomule - Motohiko Hamase's 1986 album. In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitarist Kazumi Watanabe he played in the Isao Suzuki sextet and was part of their classic landmark jazz-funk album "Ako's Dream" from 1976. From 1985 to 1993, Hamase released five solo albums. "Reminiscence" features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. A soothingly beauty of an album, that reflects Hamase's search for spaces of melancholy.) 24.00

PAN DAIJING - lack LP (pan - Culminating as the purgative ‘finale’ to her improvisational live performances, Pan Daijing’s debut album also offers an insight to her future works. The process was intuitive and raw, born out of her previous explorations. Over the past 2 years, she has composed, recorded and edited different concerts and field recordings across Europe, China, and Canada, forming the basis of the record. Arriving as her first full-length album, ‘Lack 惊蛰’ was crafted from this long, painstaking mental and physical practice.  Daijing’s pieces are created around a very intense and intimate mental catharsis, often expressed through a close physical interaction with strangers in her live sets which seek to engage them in a highly personal way. “When I was finalising this album, they didn’t feel like tracks to me anymore, but more like a psychoanalytical process,” she says. “I saw myself being this absurd, mad person ‘acting’ out the sounds… It’s rather physical, and became like a mindgame. All things came out naturally as part of me.”  The narrative of the album presents a perspective of the world as ‘the theatre of our minds’ – where Daijing sees the record as an ‘opera piece’ in its storytelling and drama.  The release is mastered by Rashad Becker at D&M, featuring photography by Ralf Marsault, and artwork by Bill Kouligas. ) 23.00

RIMARIMBA - Below The Horizon LP (freedom to - The first in the Rimarimba series, 1983’s Below The Horizon, features Robert Cox in exploratory mode, figuring out exactly how to make his music. There’s a pleasure in hearing how he feels out the parameters of his aesthetic, here – there’s a boxy minimalism, slightly clunky and charming with it, that reflects the home-spun, improvisatory tenor of the compositions. It’s ambitious music, though, wanting to do the most and the best it can with its limited resources. Cox himself admits to not being “pre-wired” to making this music, but that only makes it more compelling: “Were I to be properly musical, it wouldn’t actually work as well in some ways; it’d be just another album of contemporary clattery music.”) 19.00

THE SCORPIONS & SAIF ABU BAKR - Jazz, Jazz, Jazz LP (habibi - I heard about Seif Abu Bakr and The Scorpions for the first time maybe 3-4 years ago. Their album “Jazz, Jazz Jazz” ended up on my radar because of an eBay auction; it might have been the first auction for this particular album on the platform. While the bids kept on rising daily up to a staggering 1000$, if I recall correctly, I was intrigued about the snippet preview bits of the music on this album as well as by the impressive artwork. This album happens to be my first conscious connection with Sudanese music. Habibi Funk must have already existed for a year or so but I had not yet come across any recording from Sudan that I felt fitting in the context we set for our self. I remember I did some quick research in the aftermath of the auction (which I obviously did not win) to gather some information about the band but apart from some vague bits and pieces I could not find anything. In most encyclopedic overviews of the Sudanese music scene of the 1970s the band appeared as a mere footnote. How come? I really do not know. To me the music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions of traditional tribal rhythms and even an excursion into Soukouss. While all of our reissues so far have been compilations in the sense that we put together our favorite selection of tracks by one artist, this album will be our first 1:1 re-release, simply because the quality of the albums does not fall off on a single track. With its eclectic influences it birthed a one-of-a-kind new mixture and serves as a blueprint for what we are looking for when we release music on Habibi Funk.) 22.00

THIS IS WHERE - This Is Where LP (hallow ground - This Is Where is the collaborative project of Algis Kizys, Norman Westberg and Lynn Wright. Having previously released a limited edition cassette tape in 2016 under the name of ALN, their self-titled album for Hallow Ground is to be considered the three-piece’s definite studio debut as This Is Where. Recorded and mixed by Kizys, This Is Where delves even deeper into the psychedelic and at times cosmic drone sound previously to be heard in the New York City-based trio’s live recordings. As a logical next step after what the Swans guitarist Westberg has presented on recent solo albums like The All Most Quiet for Hallow Ground, it integrates three distinct musical visions into a whirling ocean of sound. This Is Where's sound is neither dominated by the thundering brutalism of Swans - where also Kizys took over bass duties for a while - nor the gloomy Doom Pop of Wright’s Bee and Flower. Instead Kizys, Westberg and Wright use delay, reverb and effects to weave a pulsating web of sonic textures, moving effortlessly from dark depths to almost jubilant high notes. With Kizy’s roaring bass guitar as a sonic backdrop, Westberg and Wright give rise to a musical dialogue marked by density and tension. Over the course of 40 minutes, This Is Where create a mesmerising musical experience, divided into four discrete movements. This Is Where is a blissful journey through space, time and most of all a yet unheard-of approach to guitar-driven drone and ambient music.) 25.00

THOMAS ANKERSMIT - Homage To Dick Raaijmakers LP (shelter - Thomas Ankersmit’s new album for Shelter Press “Homage to Dick Raaijmakers” is an all-analogue electronic music composition inspired by legendary Dutch composer / electronic and tape music pioneer / multimedia artist Dick Raaijmakers (1930-2013). The work takes inspiration from Raaijmakers’ music from the 1960s, his texts on sound composition like “Cahier M”, and notes on his own music. On this recording Ankersmit plays Serge Modular feedback and sine/pulse/random generators, contact mic, and tape speed variation Mirroring some of Raaijmakers’ work, Ankersmit plays his Serge synthesizer as a kind of weather system. He references storms, thunder, crashing and falling objects, and distant radio transmissions in his electronic sounds, as well as dragging a contact mic across his equipment. Despite the abstract nature of the material, a sense of loss or mourning sometimes emerges from the music. With his homage Ankersmit re-contextualizes Raaijmakers’ ideas about electric sound, composition, and spatial experience. Like Raaijmakers himself Ankersmit exclusively uses analogue devices, such as sine/pulse/random generators, modulators, filters, and especially feedback processes between them. The music focuses on the sounds of raw electricity through creatively abused electronics, composing with analogue micro-sounds, and the creation of three-dimensional sound fields. The piece also uses tones produced by the listener’s own ears, inspired by Raaijmakers’ thoughts on “holophonic” sound fields to be individually explored by the listener. With this phenomenon, the listener’s inner ears actively generate sounds that don’t exist in the recorded signal, and which can change with a small movement of the head. “Homage to Dick Raaijmakers” was commissioned by Sonic Acts and was premiered live at the Stedelijk Museum in Amsterdam in February 2016. Ankersmit also dedicates the work to his father Thijl Ankersmit (1947-2016), who first demonstrated feedback to him.) 20.00

THOM YORKE - Suspiria (Music for the Luca Guadagnino Film) DLP (XL - ollowing the fleeting reveal of instrumental passages in two trailers and the release of the track 'Suspirium' - Thom Yorke’s Suspiria (Music for the Luca Guadagnino Film) is finally here. "Suspiria consists of 25 original compositions written by Thom specifically for Luca Guadagnino reimagining of the 1977 Dario Argento horror classic. The album is a mix of instrumental score work, interstitial pieces and interludes, and more traditional song structures featuring Thom’s vocals such as “Unmade”, “Has Ended” and “Suspirium,” the album's first single featuring the melodic theme that recurs throughout the film and its score. As scoring a horror film presented Thom with altogether new challenges and opportunities, Suspiria stands apart from any of his other work. Piano/vocal ballads, Krautrock-esque modular synth work inspired by the film’s Berlin 1977 setting, multilayered vocals, and melodies that convey terror, longing and melancholy combine to create a chaotic yet cohesive musical spell. Suspiria was written and arranged by Thom Yorke, recorded and produced by Thom and Sam Petts-Davies. The album also features the London Contemporary Orchestra and Choir, Noah Yorke on drums on “Has Ended” and “Volk,” and Pasha Mansurov on solo flute on “Suspirium.” ) 30.00

THOUGHT GANG - Thought Gang ( Angelo Badalamenti & David Lynch) DLP (By the time Twin Peaks’ second season had aired and Fire Walk With Me had just began principle production, Thought Gang had been born. The esoteric jazz side­ project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks’ trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid­-soaked free­jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me’s soundtrack would ultimately showcase two preliminary tracks (‘A Real Indication’ and ‘The Black Dog Runs at Night’) from a full­length album that wouldn’t see release for the next two and a half decades. Between May of 1992, and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces...dove­tailed into a string of contracted sessions for other Lynch­/Badalamenti projects. The defining elements that would birth Thought Gang into a fully­-formed concept and eventually an entire album, however, happened during the 1991 session for ’A Real Indication.’As the oft­-told story goes, Lynch and Badalamenti had just finished recording the initial instrumental take for ‘A Real Indication.’ A set of lyrics had been penned, leaving Lynch with the question: who would he get to sing them? Eager to prove and deliver, Badalamenti suggested that he himself give it an attempt, much to Lynch’s uncertainty that he’d actually be the right fit. “I’d heard Angelo sing before...he used to sing on demos and things...I knew what Angelo sounded like and I thought he was going to embarrass himself...I thought there’s no way this was gonna work.”) 23.00

THURSTON MOORE & TOM SURGAL - Klangfarbenmelodie.. And The Colorist Strikes Primitiv LP (glass - Thurston Moore (guitar) and Tom Surgal (drums) rinse out a heady tangle of shreds and splayed rhythms. Originally released by Bruce Russell’s Corpus Hermeticum in 1995, now edited by Bruce and reissued on vinyl for first time by London’s Glass Modern) 28.00

WILLIAM FOWLER COLLINS - Field Music LP (sige - A fluid dream logic runs deep in William Fowler Collins’ Field Music. The New Mexican composer of dark minimalism has long centered his practices upon the slow burn of the drone through guitar, electronics, etc. That remains the case for Field Music, with Collins extending his strategies through compositional exercises into rhythm and a diverse array of conceptual signposts that push his work along unfixed, sometime oppositional directions. The idea of ‘field music’ can relate to the archaic use of military drum corps in battle, whose patter Collins has intermingled with the polyrhythms associated with Voodoo ritual. Collins also proposes that the ‘field’ be defined as the physical self as gleaned from his secular readings of the Bhagavad Gita. The ‘field’ as the fabric of time and space also becomes a possibility when Collins literally wraps this album in the history of the atomic bomb, as the cover photo portrays the humble ranch where the first nuclear weapon was assembled. Field Music grounds itself upon sustained tones that churn through controlled oscillations as the fundamentals to activate a trance-state in the listener. Out of this, Collins introduces hypnotic machine-looped convulsions and almost EVP-like disembodied voices on “Contact Is A Mother” as well as those those aforementioned polyrhythms that ripple across the title track. He pushes a motorik thump to the foreground of “They Wept Together” to the glowing dilation of foreboding ambience, running parallel to the restrictive strategies of Wolfgang Voigt. The subtle complexities of Field Music address the primal nature of rhythm in connection with the body and the building blocks of energy, matter, and consciousness. Fans of Eliane Radigue, Christophe Heemann, and Demdike Stare would be well served to investigate Field Music.) 25.00

V/A - Cosmic Visions of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond VOLUME TWO DLP (soul jazz - This is the second collection of music from Venezuela in the 1970s and beyond to be released on Soul Jazz Records. The album once again features innovative figures in the history of underground Venezuelan music, mostly unknown outside of their home country – their music a blending of progressive rock, jazz, experimental electronics and disco –created mainly in the 1970s – during a time when the country was both a cultural and economic powerhouse in Latin America. While much of 1960s Venezuelan rock music emulated British and USA styles, and salsa dominated the dancefloors of Latin America, the 1970s saw the evolution of a new generation of creative local artists such as Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan. Most of these artists featured on Venezuela 70 remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world – a stunning ‘melting pot’ mix of sounds from the cosmic and psychedelic rock of Vytas Brenner to the Moroder-esque disco experimentation of Daniel Grau, and the tropical funk of Un Dos Tres Y Fuera and beyond. Aside from the relatively known Vytas Brenner and Daniel Grau, most of the music on this album is incredibly rare (even in Venezuela)! The album is released as heavy double gatefold vinyl with full colour inners, exclusive text on artwork, CD with slipcase and large booklet, and digital album. ) 28.00


TAPES

JOHN, PAUL, GEORGE, RINGO & RICHARD - Easy Listening TAPE (phanto - Nach der "Augen Zu, Malibu" LP nun eine Cassette mit 11 weiteren Stücken des Solo-Projekts von PISSE Sänger Richard. Experimental Punk Audio Collagen at its best. Limitierte Auflage von 150 Stück mit Booklet und Obi-Strip.) 6.00
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