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

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

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

Thank you
 Robert & Norman


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


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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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

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

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

Thank you
 Robert & Norman


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


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


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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Inscription: 31 Déc 2005, 14:38
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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 ... -agreement

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

Thank you
 Robert & Norman


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


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


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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Re: Bis Aufs Messer October news

Messagepar ADAGIO830 » 26 Oct 2018, 12:22

hi. welcome to the last newsletter for October. A bunch of new stuff arrived like the MOUNT EERIE - 2 Remixes by Wolves In The Throne Room 7“, MOUNT EERIE - After DLP, MOUNT EERIE - Clear Moon / Ocean Roar DLP along with lots of Mount Eerie & Microphones restocks, Amyl & The Sniffers restocks, BRIGITTE FONTAINE & ARESKI BELKACEM - Vous Et Nous DLP, the long waited re issue of the CORRUPTED - Se Hace por los Suenos Asesinos LP, CLOUD NOTHINGS - Last Building Burning LP, TRAGEDY - fury LP restock, a couple ORINDAL records restocks, V/A - Switched-On Eugene DLP on Numero, the new NENEH CHERRY LP the new KLAUS JOHANN GROBE du bist so symmetrisch LP, NATHAN BOWLES restock etc. .. etc.

and don´t miss the GHOST BAG & TINE FETZ, FLETCHER TUCKER & CHUCK JOHNSON show NEXT TUESDAY OCT 30th at Zukunft Am Ostkreuz

Thank you
 Robert & Norman


MOUNT EERIE - 2 Remixes by Wolves In The Throne Room 7“ (pw elvrum - 1000 physical copies, picture disk 7" 33rpm .................. Two raw and unmixed songs from “Wind’s Poem” were transferred from the original analog tape masters into the ProTools HDX system at Owl Lodge.  The studio is situated in the woods near Olympia, WA and is the headquarters of Wolves in the Throne Room. ) 13.00

STUNTMAN / ART OF BURNING WATER - split 7“ (French noise hardcore from Montpellier, France and English grind hardcore from UK. 1 long song from Stuntman and 2 songs from Art Of Burning Water (incl a Deep Wound cover).) 5.00

URAKEN - s/t 7“ (emergence - French fast raw hardcore from Rouen, France with members of Genital Jiggling & Birds Eat Sharks. 10 songs.) 5.00


AUREOLE OF ASH - Morbid Reality 10“ (react with protest - Hailing from the German town of Münster, Aureole of Ash may be relative newcomers but display the songcraft and savvy of veterans. Morbid Reality adopts the legendarily gnarly Swedish guitar tone in the service of short blasts of grinding power violence, wisely slowing things to a feedback-soaked crawl to let the damage sink in. ) 10.00


AMYL & THE SNIFFERS - Big Attraction & Giddy Up LP (damaged goods - UK PRESSING - back in stock on ltd white vinyl Raucous Aussie garage punky pub rock! Amyl and the Sniffers are a punk band possessed by the spirit of seventies Australian rock. Amy Taylor (vocals), Bryce Wilson (drums), Dec Martens (guitar) are former housemates who formed the band, wrote a handful of tunes and released their debut EP, Giddy Up, all in a span of twelve hours.) 18.00

BRANDON COLEMAN - Resistance DLP (brainfeeder - The fun times just keep coming as the party fortress Brainfeeder offers us Resistance, the new cut from Brandon Coleman. To put things in perspective, he happens to be a member of saxophonist Kamasi Washington's band, padding out that symphonic sound with fusion sounds on his keyboard and keytar. If you've heard anything off Heaven And Earth you'll know: he's gone on some real funk benders. On his new solo record he draws on boogie vibes and R&B while keeping his vintage electro sound in tac. This will rule.) 26.00

BRIGITTE FONTAINE & ARESKI BELKACEM - Vous Et Nous DLP (Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation. "Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") … Benjamin Barouh, June 2018) 28.00

CATHERINE CHRISTER HENNIX - Selected Early Keyboard Works DLP ("Selected Early Keyboard Works" is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot on the heels of "Traversée Du Fantasme" at the Stedelijk in Amsterdam, Hennix’s first solo museum exhibition in over 40 years, and coincides with the closing of "Thresholds of Perception," a retrospective archival show of Hennix’s visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix’s own music has been given a full-length vinyl issue. In 1976 Catherine Christer Hennix’s just intonation live-electronic ensemble The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the 10-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. “Mode nouvelle des modalités,” for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix’s formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley’s synthesized reveries. “Equal Temperament Fender Mix,” performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more sombre, hallucinatory means. Hennix is joined by Hans Isgren for the collection’s centerpiece, “The Well-Tuned Marimba,” for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix’s The Electric Harpsichord, but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion’s status as “THE obscure masterpiece of the days of the early American minimalism”. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century. Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer. A two-volume collection of her writing is forthcoming from Blank Forms.) 30.00

CLIFF MARTINEZ - Hotel Artemis (Original Motion Picture Soundtrack) DLP (invada - Cliff Martinez scored the film Drive with great success. Now the producers of Drive has brought him in to score dystopian thriller Hotel Artemis, starring Jodie Foster. Following a similar style to Drive, Martinez relies on synths to create a dark and tense soundtrack. In addition to the score by Martinez, the album features an exclusive song by Father John Misty along with classics by The Mamas & The Papas, Buffy Sainte-Marie and Elyse Weinberg.) 28.00

CLOUD NOTHINGS - Last Building Burning LP (witchita - Great news! Cloud Nothings have made their loudest record to date! It's also one of their fastest. The Cleveland OH band have drafted in Randall Dunn (Sunn O))), Earth etc.) to help replicate their intense and powerful live sound on this thirty-minute one-sitting-listen slab of racket churn.  ) 24.00

CORRUPTED - Se Hace por los Suenos Asesinos LP ("Se Hace por los Suenos Asesinos" is probably the most sought-after Corrupted album. Released back in 2004 through Japan's HG Fact label, in an initial run of 1000 copies (which sold out within the first week!), this cult album has never been repressed ever since. "There isn't really a band that can compare to the deadly force of Corrupted. The easily disheartened should avoid the hopeless black sky blocking heaven's view that hovers over the opening track. The weak willed should stay out of the dark tsunami that consumes and destroys in the latter two. Listen at your own risk". (Sputnikmusic) —) 18.00

COUTEAU LATEX - Décadanse LP (waving hands - Couteau Latex is a US-Swiss duo formed by Seth Sutton (Useless Eaters, Life Trap) and Lise Sutter (Maraudeur, The Staches). "Décadanse", their first EP, comes after two 7" released by Goner Records, an iconic figure of Memphis's punk scene. Mostly recorded in 2015 between Switzerland and USA on a 4-track recorder, 'Décadanse' delivers mechanic and melancholic post-punk tunes, interconnecting European minimal synth and US punk traditions. Here, the bass is groovy and leading, the vocals are haunting, half-spoken/half-sung, the sound dusty. If we stoop to make comparisons, Couteau Latex reminds us some of our personal French idols like Deux, singing about the cigarette smoke left at night by a bunch of boys " à la démarche fauve“…) 18.00

HEATHER LEIGH - Throne LP (editons mega - Heather Leigh takes her Throne as queen of pedal steel with a suite of heartbleed ballads cauterised with burning riffs. After the rawness of its precursor I Abused Animal, Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multitracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. Prelude To Goddess sashays in wearing leopard print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by Lena – arguably Leigh's Jolene – a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. Soft Seasons is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody. Gold Teeth, the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again. Days Without You and Scorpio & Androzani are shorter, intimate songs, in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on Days Without You, a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fug of psychic disturbance and lovesick sensuality. Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel. ) 20.00

HELENA HAUFF - Qualm DLP (ninja tune - Expert DJ Helena Hauff presents her second full length - a suite of her own productions, which are potent enough to stand tall alongside any of the gritty, futuristic electro she might choose to spin of an evening. Qualm is made up of direct hardware jams, and has appropriately hard-kicking results: ready for the floor, but with a certain sense of hovering dark atmosphere around it (see the German translation of Qualm: smoke).) 26.00

HETZE - Bedbugs LP (Political Power Violence from Belgium with incredible female vocals, awesome!) 11.00

IDLES - Joy as an Act of Resistance. LP (back in stock - Bristol, 5-piece Idles (aka “the UK's best punk band" - The Guardian) release their anticipated sophomore LP Joy as an Act of Resistance via Partisan Records. Produced by Space and mixed by Adam Greenspan and Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), Joy as an Act of Resistance takes aim at everything from toxic masculinity, nationalism, immigration, and class inequality - all while maintaining a visceral, infectious positivity. Singer Joe Talbot summarizes: “This album is an attempt to be vulnerable to our audience and to encourage vulnerability; a brave naked smile in this shitty new world. We have stripped back the songs and lyrics to our bare flesh to allow each other to breathe, to celebrate our differences, and act as an ode to communities and the individuals that forge them. Because without our community, we’d be nothing.”= 22.00

KIKAGAKU MOYO - Masana Temples LP (guruguru - The shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined. More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.) 22.00

JUAN HIDALGO - Rrose Selavy LP (disocs - Juan Hidalgo (1927-2018) was born in Las Palmas, Canary Islands. He studied composition and piano in Spain and later in Paris and Geneva. He moved to Milano in 1956 where he has developed most of his musical career. He collaborated during his career with people like Marchetti, John Cage or Bruno Maderna. Rrose Sélavy is a unique queer-sound-art piece that claims for revision of the role of the gender in the society through the musical language. Juan Hidalgo played a leading role in definitively abandoning the traditional avant-garde musical research -the problem of music as sound- to devote himself to the musical fact as a search for a language that is creative and critical at the same time. Beyond the abstract notion that the language can be a source of indoctrination, words and language play an important role in the social construction of gender. The musical language also marks and generates a very particular type of social body and listening. Precisely, a change in the syntactic form of sounds would trigger a new listening and a new understanding of the world of sound that surrounds us. Silence and noise are not only two opposite poles within music, but also at a social level. Rrose Sélavy begins with a celesta solo. A piece based on the relentless repetition of the first five notes of the scale of C major, do-re-mi-fa-sol, but without predictable order, without syntactic logic between them and without any series of tonal hierarchies between them. Since this hierarchy is missing,  there is neither beginning nor end; The duet's piano, while remaining within that narrow range of pitch, expands the ground to other octaves. From the trio to the final sextet, the inclusion of new sonorities adds nuances and dimensions to what -at first- looked like simple children's music. This is a truly "rare" example in form and content in the arts scene, despite the stumbling block that has seemed to be for decades for the history and historiography of traditional style, determined to evaluate movements, concepts and actions, is perceived nowadays, once again and as always, as a gradual, free and liberating flow, always new, always open, always ready to "start over“. Rrose Sélavy is an album originally released by Cramps Records in 1977 and now reissued by Discos Transgénero. This posthumous official reissue includes the original inner notes by Daniel Charles in addition with notes from Julio Pérez and Eloy Palazón in a limited edition of 500 copies. This is not distributed in digital formats and there will be no-repress.) 24.00

JULIA HOLTER - aviary DLP (domino - Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” Out on October 26th via Domino, it’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements. The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void. Aviary, executive produced by Cole MGN and produced by Holter and Kenny Gilmore, combines Holter's slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs. Holter was joined by Corey Fogel (percussion), Devin Hoff (bass), Dina Maccabee (violin, viola, vocals), Sarah Belle Reid (trumpet), Andrew Tholl (violin), and Tashi Wada (synth, bagpipes). ) 25.00

KLAUS JOHANN GROBE du bist so symmetrisch LP (trouble in mind - Swiss group Klaus Johann Grobe have been at it since 2012, and as they prepare to release their third album "Du Bist So Symmetrisch" (and third on Trouble In Mind), the group continues to defy description & blur the lines between electronic pop, dance music, synthesis & kosmische. "Du Bist So Symmetrisch" follows the inevitable path laid out by their previous album (the Basel Prize-winning "Spagat der Liebe"), incorporating the slinky, jazz-fusion-laced grooves populating late night clubs and braiding them together with the band's own blend of mutant electro-funk. Driven by an organic, metronomic beat aligned with synth, chant-like vocals, and a monstrous funky bass, the music aims towards a certain kind of hypnosis, particularly as the sleeping pill echo-heavy vocals cycle over the locked grooves the pair throw down. "Du Bist..." begins with the cascading arpeggio of a synth, edging into view, before lurching into the placid dancefloor groove of the first single "Discogedanken". While the band invariably feels more at home in the club, Klaus Johann Grobe certainly aim towards the more dance-orientated arena of German music (see "Der König" or "Von Gestern"), aligning the metro pulse of Klaus Dinger and Kraftwerk's later techno work to more biological factors - like moss growing on the mainframe.
The band has toured extensively since 2014, highlights being supporting tours with Unknown Mortal Orchestra, The Growlers and Temples, and they have toured and played festivals in the U.S.A., U.K., Netherlands, Luxembourg, Germany, Switzerland, France and Spain. "Du Bist So Symmetrisch" will be released worldwide by Trouble in Mind Records on October 26th, 2018 on Digital, CD, and LP. RIYL: Unknown Mortal Orchestra, Air, Cavern of Anti-Matter, Neu!, Marcos Valle, Todd Terje, Klaus Dinger, Blank Realm) 20.00
MOUNT EERIE - After DLP (pw elvrum - While making the songs that would be released as "A Crow Looked At Me", I wasn't thinking at all about sharing them with other people, family or strangers. Nobody. I was only thinking of squeezing the constant flow of words that was crashing around in my head into a familiar form, a song, since that was my habitual method of processing that had accidentally developed since adolescence. I made my inner monologue into songs for no other reason than to release it from my skull. At some point during the writing I recognized a feeling in the vicinity of "pride" about the work. It was a strange realization. These songs, and my the facts of my life that the songs were made from, seemed like nothing to be proud of. They seemed like something purely brutal and new and apart from my usual conception of creative work, and the notion of having excitement stemming from these new songs was accompanied by so many apprehensions and uncertainties. What does it mean to write things like this down? What would it mean to record it? What would it mean to share it with strangers? Where is the line of propriety? What is anyone supposed to do? At every step I was uncertain if it was OK to be doing what I was doing. My hunch was almost always that it was wrong. Don't write it, don't record it, don't sing it in front of people, don't repeat it. But also I was surprised to discover that my internal response to this hesitation was almost always to double down and go deeper in; to write more nakedly, to go on another tour, etc. In the year that came after releasing "A Crow Looked At Me" I toured a lot. The United States, Canada, Europe, Australia, New Zealand, Japan. It wasn't easy. The shows were emotionally difficult and the atmosphere was so delicate and strange, like reenacting a violent act on stage in front of a paying audience every night. On top of that, I had to tour with my daughter (and a nanny) so my mind was stretched between 2 big difficulties. But fortunately, with the help of so many understanding and helpful agents, bookers, organizers, I was lucky to get to perform these songs in very well suited and beautiful rooms, nice theaters and churches, to kind and supportive listeners. The concerts ended up being something beyond strange, macabre, gawk-shows. I don't know what they were exactly. Just strangers gathered in beautiful rooms to pay close attention to one person's difficult details, and to open up together, quietly. They have been the most powerful shows of my life, no question. The best one was at Le Guess Who? festival in Utrecht, Netherlands on November 10th, 2017. Nobody was supposed to be recording these shows but fortunately someone didn't get that message and this beautiful recording of that show has surfaced.) 26.00
MOUNT EERIE - Clear Moon / Ocean Roar DLP (pw elvrum - Clear Moon and Ocean Roar were released as 2 separate but related records in 2012. Now they are re-released in new double gatefold jacket with abundant multi-colored foil stamping and clear and black vinyl (Clear Moon on clear vinyl, Ocean Roar on black). The music is the same as before.) 27.00

NATHAN BOWLES - plainly mistaken LP (paradise of bachelors - It’s been a minute, but hopefully this transmission is worth worth the wait. Here’s what Bill Callahan has to say about Nathan Bowles and his new album Plainly Mistaken: “Nathan is brainy and bookish and likes whiskey. He has that intense air that can fall away to mirth. His approach to music appears curious, knowledgeable, playful, intuitive, still. He knows he has a thing going on, and that he can apply that thing to things! To many different things. Maybe that thing is the grand blankness of seeing everything at once. Or maybe it is a pinhole vision that soothes and subjects in its narrowness. “I think these new songs nurture their dialectic opposites, and that is their appeal—the drone has the aspect of melody, the melody has the aspect of drone. I don’t think Nathan has ever ridden a dolphin, but I think if faced with the task he would cotton quick. That’s how I see his approach to his music.” We agree wholeheartedly. On his playfully subversive fourth solo album, Bowles (Steve Gunn, Pelt, Black Twig Pickers) extends his acclaimed banjo and percussion practice into the full-band realm for the first time, showcasing both delicate solo meditations and smoldering, swinging ensemble explorations featuring Casey Toll (Jake Xerxes Fussell, Mt. Moriah) on double bass and Rex McMurry (CAVE) on drums. As he considers the cycles of deceit and self-deception that shape both our personal and political lives, a mixed mood of melancholy and merriment permeates Bowles’s own compositions as well as the interpretive material, which draws from traditional Appalachian repertoires and the diverse songbooks of Julie Tippetts, Cousin Emmy, and Silver Apples.) 20.00

NENEH CHERRY - broken politics LP (Neneh Cherry produced by Four Tet: what a contemporary dream team eh? Broken Politics is an album that engages with the dark nonsense-scape we live in, with Neneh’s lyrics and vocal delivery packing a smart punch. Broken Politics, which also features 3D from Massive Attack, is released by Smalltown Supersound.) 21.00

NIBOOWIN - breathing LP (NIBOOWIN is a four piece band from central Michigan who formed in 2017, from the looks of things.  NIBOOWIN features members of Old Soul, so going on that alone, you know you're in for something truly special.  NIBOOWIN play a killer style of music that incorporates elements of post hardcore, black metal, crust, and screamo within their sound.  Musically, NIBOOWIN can be loosely compared to bands such as Amber, Envy, Locktender, Perth Express, Planks, Amen Ra, Lightbearer, and other like-minded bands.  Breathing is the band's debut full-length LP, which was released on February 2nd, 2018.  On Breathing, NIBOOWIN offer up eight tracks of brutal as fuck sounding post hardcore, black metal, crust, and screamo.  Overall, Breathing makes for an amazing listen and definitely should not be missed.  Highly recommended!  Enjoy! ) 12.00

PENELOPE TRAPPES - penelope two LP (Penelope Two: the second solo album from Penelope Trappes (also of The Golden Filterand Priscilla Sharp). The Trappes sound is slick and noirish electronic shoegaze pop, all slow and cinematic. Trappes’ voice sets the tone with its cold cool: this album will likely do great things for Julee Cruise fans. Its released by Houndstooth.) 20.00

SOAP & SKIN - From Gas to Solid / you are my friend LP + 7“ (pias - Third album from inexplicable Austrian chart topper Soap&Skin. I say inexplicable not because the music is bad, far from it, but because this is clearly not 'pop' music. From Gas to Solid / you are my friend is an album of sparse gothic beauty, which explores Anja Plaschg's sense of self as she is she encounters parenthood and the album cycle. ) 29.00

TOXE - Blinks LP (pan - Swedish producer Toxe's sharp ascent through club-cursed climes has elicited the highest praise from the start. In just a few years she has linked up with Staycore and Halcyon Veil, presented an A/V project with The Vinyl Factory, and scored KENZO's FW 2016 prints presentation with close collaborator Mechatok. Her new EP 'Blinks' is a fractal bloom of candied melodies and minor laments set in a sweep of frenetic rhythmic scenes. Developed throughout last year, 'Blinks' journals a period of inward flux. And though this is never presented in an overtly self-conscious way on the EP, Toxe binds a sweet juvenilia with a bustling and eager pensive tone to outline her tessellating sense of self just below the surface. Meditative glimpses of soaring synthetic landscapes are woven across 'Blinks' in brief snatches. Awash in horrific and gripping fluorescent hues, these environments are augmented by a comically mischievous patchwork of voices and saccharine rasps that clamour for attention, hinting at Toxe's impulse to voice a simultaneous and unorganised set of experiences. The release is mastered by Jeremy Cox, featuring art by Jasper Spicero.) 15.00

TRAGEDY - fury LP (diy - back in stock - Six new songs in a classic Tragedy trademark - furious power interlaced with melody. Pressed on black vinyl, in thick Frovi stock LP jacket.) 16.00

UNKNOWN MORTAL ORCHESTRA - ic o1 hanoi LP (jagjaguwar - While recording Unknown Mortal Orchestra's latest release, Sex & Food, Ruban Nielson, his longtime collaborator Jacob Portrait and his brother Kody Nielson, found themselves in the Vietnamese city of Hanoi at Phu Sa Studios. During the recording process for Sex & Food the band recorded live sessions with local musician Minh Nguyen on Sáo Trúc, Äàn Môi, and Vietnamese Percussion and the Nielson's father, Chris on Flugelhorn, Saxophone and keyboards. These sessions became IC-01 Hanoi: exploring the outer edges of the band's influences in Jazz, Krautrock, Fusion and the avant-garde. At its core Hanoi is a record of exploration, finding its closest antecedent in Miles Davis' experimental On The Corner - itself a record full of nods toward avant-garde composers and Jazz outsiders alike. Hanoi finds Ruban amplifying and stretching out on lead guitar, with a blown-out and wandering fuzz tone that slinks throughout the sessions. The rest of the group match Ruban's melodic diversions with aplomb, mining their talents to finding as easy a role in the fusion of funk as they do in the more ambient and abstract tangents on Hanoi. ʇ) 20.00

V/A - Switched-On Eugene DLP (numero - Switched-On Eugene documents the Eugene Electronic Music Collective and some of the many synthed-out figures in and around Oregon’s iconic hippie stronghold during the 1980s. Whether connected by membership, geography, or the tape trading scene, the artists in and around the EEMC shared compelling visions of the future we now inhabit, vividly captured on home-recorded tapes and distributed via zines, classifieds, and local radio. Switched-On Eugene is a deep dive into a heretofore forgotten sonic microcosm unlike any other.) 32.00

YVES TUMOR - Safe In The Hands of Love DLP (warp - Safe In the Hands of Love was first released in fragments; from the single ‘Noid’ being labelled Pitchfork’s Best New Track, to the release of a Daniel Sannwald-directed video ‘Licking An Orchid (ft James K)’ to Zane Lowe premiering ‘Lifetime’ on Beats 1. 24 hours later, the whole album is laid bare in all its experimental-pop-music glory. Taking inspiration from trip-hop to jazz to the melancholy mourning of the synthesiser, the album expertly manoeuvres across genres.) 25.00


LISA/LIZA - Barn Coat EP TAPE (Lisa/Liza gave us a handful of these beautiful new tour tapes while she was in town recently. We only have fifteen copies for sale in the webstore, so grab one quick! They won't be around for long. "A deeply intimate, hauntingly poetic folk record, Barn Coat captures moments of truth, change, connection, and pain to deliver a truly raw and cathartic listening experience." - Atwood Magazine "An EP both brave and reassuring, a blanket to crawl under and an unblinking lens that probes deep into our psyche" - GoldFlakePaint "Consisting solely of acoustic guitar and intimate vocals, these compositions return the delicate, ethereal structures of L/L's work to date, balancing the clarification of her naturally evolving songwriting with a growing ability to weave measured imperfections and jazz-like playfulness into her songs." - Portland Phoenix "This is a beautiful demonstration of loneliness, of our microscopic lucidities before the great horizon of life." - Le Devoir) 8.00

WOLVES IN THE THRONE ROOM - Thrice Woven TAPE (artimesia - Wolves In The Throne Room re-imagined black metal as an ode to rain storms, wood smoke and the wild energies of the Pacific Northwest. Their first studio album, Diadem Of 12 Stars (2006), was a genre-dissolving classic that created a melancholy and psychedelic Cascadian atmosphere. Since that time they have become one of the most potent and highly regarded bands in extreme music. The listener encounters crystalline metal riffs that slowly collapse and shift into ritualistic laments, singing of endless rain falling upon ancient cedars. Their music is a doorway into a mythic ethereal heathen landscape entered through music, magic and dreams. Now, a portal into the dreamworld of the band opens again with Thrice Woven. It is a glorious return to the blazing and furious black metal that they alone can create!) 11.00

WOLVES IN THE THRONE ROOM - Diadem Of 12 Stars TAPE (artimesia - Written almost exclusively in a windowless, black room over the long, dark nights of winter 2005, Diadem of 12 Stars was the first official Wolves In The Throne Room release. Re-imagining black metal as an ode to rain storms, wood smoke and the wild energies of the Pacific Northwest, Wolves In The Throne Room craft a unique melancholic atmosphere. Diadem of 12 Stars is about lunar sorcery on Cascadian mountaintops and encounters with wild spirits. In contrast to the icy, razor sharp soundscapes of their ’90s Norwegian forebears, Diadem of 12 Stars is lush and ethereal, dripping with rain-soaked moss and lichen. In 2006, all but a few self-defined black metal acts avoided performing live. In contrast, Wolves In The Throne Room honed the material for Diadem of 12 Stars by touring across the country’s basements and squats. It’s raw analog sound, paying homage to the band’s varied influences—the harsh black metal of Norwegians Ulver and Emperor, and their American counterparts Weakling and Ludicra; the monolithic heaviness of Neurosis and Swans; the sorrowful funeral doom of My Dying Bride; the mournful goth of Dead Can Dance—yet it distills these inspirations to create a sound entirely their own. Described by guitarist Nathan Weaver as “the most raw and punk” of their five full-length releases, Diadem of 12 Stars was recorded live to tape in Oakland by Tim Green. The band was joined in the studio by Jamie Myers (Hammers of Misfortune / Sabbath Assembly) and Dino Sommese (Asunder / Dystopia); every song was rendered in one or two takes and mixed without the aid of a computer. Originally released on a small DIY label and unavail- able physically for many years, the album has been carefully re-mastered by Jason Ward at Chicago Mastering Service. The band re-developed every photograph from the original negatives, creating richer, high quality prints in order to present the artwork as originally envisioned. Wolves In The Throne Room have released five studio albums, two EPs, and multiple live albums, including Two Hunters (2007), Black Cascade (2008) Celestial Lineage (2011), and Celestite (2014 — an instrumental, experimental companion to Celestial Lineage).) 11.00


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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