HAWN – ‘For A Ride’ C33 HAWN’s third release, For A Ride, takes us into new territory, perhaps somewhere between no-wave and synth noise. Lee’s soulful, agitated vocals chronicle hyper-realistic, darkly-funny narratives which unfold over Craun’s heavy, glitched-out synth landscapes – sputtering digital slabs, unexpected zaps and an ever-shifting stereo field – which heighten the sense of disorientation embedded in the lyrics. The conjured atmospheres are somehow both familiar and unsettling, a feeling like trying to return to normalcy in the aftermath of some tragic, inexplicable, and possibly absurd event. While described in the past as a folk band, HAWN pull traditional songwriting ideas to deformed extremes, and in the process, create a crumbling, frightening, beautiful world. HAWN is two people: John Craun, who plays synth and produces, and Michael Jeffrey Lee, who dances and sings. “For A Ride” was recorded at Thank Tank in New Orleans, LA. All songs Craun/Lee concoctions. The album is dedicated to Alex Chilton, who, in the last decade of his life, would occasionally appear at the Thai restaurant where Craun and Lee worked to order a Pad Thai, with beef.
moduS ponY & VLKsplit C30 Senior figures at the Strategic Tape Reserve are thought to be very pleased upon the public dissemination of the organization’s 24th music release: a shared cassette between long-time STR contributors, the California-based moduS ponY, and Cologne’s VLK. Early on the the composition process the co-creators of the music on this cassette exchanged digital folders containing audio files – guitar melodies, baselines, synth drones, field samples and other miscellaneous sound items. These sound-seeds instigated the tracks which you can now hear – providing, if nothing else, a common framework linking the two halves of the release. When the white side of the cassette is facing outward from a standard tape player, listeners will experience moduS ponY’s playful, multi-instrumentalist, genre-defying compositions. Turn over the cassette to the red side and now the stereo will play VLK’s post-vaporous synth noise and mutated-sample sounds. In the spirit of Adriatic ports, gymnastic displays of groinal flexibility and low-temperature banana confections, we hope you enjoy this evenly-divided, two-person cassette.
Amma Ateria – ‘Vague Pure Affection’ Bimodal Press is happy to announce Vague Pure Affection, a limited edition cassette release of 100 for Amma Ateria. With Vague Pure Affection, Amma Ateria externalizes a daydream futurism, investigating the physical interior polarity sparked from childhood experiences of close-ranged aircrafts from rooftops adjacent to Hong Kong’s airport. Vielä explores the coexistence of softness and violence, entering states of stillness from overwhelming air pressure in meshes with binaural beats. Lightly breaks into an alarm state, while underlying orchestral screams in 1882 refers to the women of the 2nd dimension going to church in novella ‘Flatland’. The rhythmic patterns of industrial machines in Kone, realized during her time of isolation in Finland, expands the mechanical theme. Departures is a minimalistic farewell with depictions of flight and ambient continuity carrying one and other, as the notion of being lifted translates to a sense of grounding in Gravitations. Vague Pure Affection is an intimate portrait of longing, reflections, and the notion of time, composed through transforming the deafening of noise into meditative stance, revealed through elements of movement, reconstruction, restraint, and the physicality of memory. Amma Ateria (Jeanie Aprille Tang) is a sound artist and electroacoustic composer, born in Hong Kong, based in California. Her practice in sound examines the coexistence of polarity in the sonic spectrum. With an immediacy of tension and release through spatialization, her performance consist an intention to expand physicality in the human experience, navigated by cross-modal synesthetic influences from the contemporary moment. Thus the movements in sound expose her body’s visceral resonance in polar opposites, examining boundaries and brinks of sonic breakage via saturated transitions of stark polarities. With memories of condensed cities, she gravitates to frequencies of close-ranged airplanes, inaudible conversations, out of body experiences, sustained harmonics intersected with musique concrète, and synthesized speed of air with various colours of noise.
Whirling Hall Of Knives – ‘Knukke’ Beginning the 9th LP from Whirling Hall Of Knives, Knukke’s title track opens with strands of shifting drum patterns from long-time WHOK collaborator Bryan O’Connell – unsettlingly crude edits and loops of which overlap and weave over ominous cooing and what sounds like a robotic feline in distress. The opening screeching and grinding of Skarper/Apprehe develops into a passage of the most bleak and despairingly gnarled electro, which in turn gets swallowed by yet another amorphous and distorted migraine. Sumer Love is a more bliss-ridden meditation – a brief respite from the chaos that has passed and a welcome pause before the total collapse to come. Celestial vocal washes struggle to break out from behind an arid rhythmic throb. Side B brings the side-long Single-Use Earth – the first half of which erupts into a bleak, monotonous, extended cacophony that eventually gives way to some fluttering, time-stretched memories, bobbing on a series of polluted waves lapping against the radioactive shore. Limited edition of 100.
Modern Technology – ‘Modern Technology EP’ Introducing the self-released debut EP of East London two-piece Modern Technology. Modern Technology formed through a shared frustration of a post-truth society and political unrest that is currently suffocating our global conscious. Chris Clarke (bass & vocals) and Owen Gildersleeve (drums) confront these issues head-on, tackling themes of political injustice, social anxiety, austerity and inequality. All profits from the release will be shared between housing and homelessness charity Shelter and mental-health charity Mind. Limited edition of 50.
KIndred Spirits presents – ‘Various Patients Hearing Voices’ ‘Various Patients Hearing Voices’ features a disturbing collection of recordings exploring the destabilising phenomena referred to by medicine as auditory hallucination. Often cited as affecting those suffering from some form of mental disorder, notably schizophrenia, research in recent years has unearthed scientific evidence that hearing voices also afflicts both children and healthy people. Seven such research studies are gathered for further investigation on this rather disturbing set, the collection put together by Aetheric head honcho Alistair Thaw, here working under his more macabre alter ego, Kindred Spirits. Set to a chilling and minimalist drone whirr, think of a remotely detuned and alien sounding Radiophonic Workshop score, which in truth serves to edge up both the tension and the primitivism, ‘various patients hearing voices’ shines a very shadowy light on the arcane, almost medieval treatment of these ‘patients’, the recounting tales creep with twisted and disturbed fascination, their insular freeze wayward and hatched from a ice haunted clinical crude that loosely touches base with early Cabaret Voltaire, Throbbing Gristle and the Mount Vernon Arts Lab. (Mark Barton, The Sunday Experience). Limited edition of 40.
Curved Light – ‘Flow and Return’ Description: A visceral psychedelic journey, the album is perhaps more densely layered than his previous efforts, but here laced with a fresh batch of memorable melodies and a neon under- current of 21st century dread.
Chris Otchy – ‘Subterranean Landscapes’ Description: A vivid exploration of the natural world, the album weaves together a tapestry of serene synth compositions juxtaposed with denser, more industrial material that stops just short of techno.
Jordan Christoff – ‘Enveloped’ Description: Jordan paints sonic landscapes with synth experimentations, no computer screens, but a full acoustic world that draws from contemporary ambient sonic landscapes, a sound that is also committed to honouring the roots, clearly inspired by composers like Eduard Artemyev and the sounds of Le Mystère des Voix Bulgares.
Rose – ‘Night Places’ Description: Night Places is the latest project from Reuben Sawyer, whose been an illustrator & musician for over a decade. Sawyer has various aliases, and his Rose persona comes off as hypnotic, focused, and beyond freezing.
Jackson-Pratt – ‘Semi Good Lookin’ C30 $6 A potent blast of saturation and crunch, the second tape from this NYC-based project wastes no time in establishing itself — hard panned stereo layers of junk metal intersect with consistently engaging, full spectrum textures from start to finish; clear as crystal, never thin or muddy. Paired with an equally engaging live performance, Jackson-Pratt is at the forefront of contemporary American Harsh Noise, and deserves your immediate attention. Edition of 100, professionally duplicated, with full color covers and labels.
Vasculae – ‘New Orthodoxy’ C34 $6 The first completed material in over a year following a long battle with various creative blocks introduces a dark ambient element to the ongoing focus of placing harsh noise in different contextual environments. Voice recordings are filtered beyond recognition in the hope that their original intent transfers to the listener, while the overall compositional approach harkens back to the early years of PD’s extreme dynamic contrast. Edition of 100, professionally duplicated, smoky tapes and cases with full color covers and labels.
Mirrored Lips – ‘Сексуальность неуместна (Sexuality Is Inappropriate)’ £5 Recorded in Gateshead, whilst touring the UK earlier this year, “Сексуальность неуместна” (Sexuality Is Inappropriate) is rumoured to be Mirrored Lips final album and (for me) their best to date. Across 8 tracks, Mark Wood has managed to harness the blistering intensity of the Russian noise punk’s live experience, with their genre-defying sturm und drang rattling through flat-out Pop Group style funk workouts to advant-rock improvs ala early Sonic Youth; all with a bit of pop-sensibility thrown in. Limited edition of 100 pro-produced tapes (+ download).
Workin’ Man Noise Unit – ‘It’s Not Nothin” £5 Reading noise-punks, Workin’ Man Noise Unit finally return with their second album, the eagerly awaited follow up to ‘Play Loud’ which was released in 2015 to great acclaim. “It’s Not Nothin'” is an agitated blistercore of pounding drums, mind-bending noise, thundering bass, full-on beaming riffs and vocal anthems. This is sound, energy, bad jokes and the smell of stale beer on sticky floors. Like Fugazi, Karp, Torche, Fu Manchu, Kyuss, Henry Blacker, The Jesus Lizard, Shellac, in one big Buckfast-fuelled gang-bang. Limited edition of 100 pro-produced tapes (+ download).
Leo Lobrev & Jelena Glazova – ‘Die Ursprünge’ £5 “Die Ursprünge” is a collaborative semi-improvisational album for electronics and prepared piano created by composer-pianist Leonids Lobrevs and sound-artist Jelena Glzova. The concept of the album is referring to an essay written by the German philosopher Martin Heidegger. In “The Origin of the Work of Art” (German: “Der Ursprung des Kunstwerkes”) Heidegger is trying to find an answer to the question on the origin of creative impulse, while eventually coming up with a round definition, a sort of “Möbius strip” answer, hence the origin of creativity still remains unidentified. Unapprehensiveness of the topic makes it especially attractive, so both authors envisaged this subject with a special vigor. “Die Ursprünge” is a story about the tension between the premeditated idea and a realised one. Creative impulse is envisaged as a premonition while facing that difference which is stated when the work of art is finished. The whole piece is a journey of creative impulse, its confrontation with the intuition and collision with the abyss of the unknown and the final realisation. Limited edition of 50 pro-produced tapes (+ download).
Territorial Gobbing – ‘Gubbins’ £5 Once again failing at any attempt at consistency here’s another radically different chunder-soaked document of improvisational daft ambience from Territorial Gobbing (the “most disappointing” member of both Thank and Gloomy Planets). Gnawed and nibbled contact mics, ancient hip hop tapes and misbehaving wave generators abound as weedy industrial beats eventually succumb to atonal waves of trash. FFO: Aaron Dilloway, John Weise, Black Dice and all that mid-2000s US noise stuff. Limited edition of 50 pro-produced tapes (+ download).
Dexter Dine – ‘Collection’ Dexter Dine’s “Collection” was written and first performed in September 2018 for a 24-hour radio broadcast whose theme was the legacy of the Voyager Golden Record. The record ponders how humans record and document communication. The result is six tracks that piece together samples of disparate sources such as early electronic music, medical instructional videos, and biological sources with live instrumentation and vocals.
Adrian Knight – ‘Vacation Man’ Vacation Man is the 5th solo record by Adrian Knight (Blue Jazz TV, Synthetic Love Dream, Private Elevators). A surrealist trip around the imagination, with Tom Henry’s album art serving up visual commentary: a hospital waiting room with visions of outer space, and of course a life size tropical beach scenic. What is it all about? If you’ve heard any of his previous releases you know Knight is a one of a kind songwriter and arranger. If you have not, you are missing out, and this is perfect place to start! Put on your seat belts! Playing most of the instruments himself, the songs take on a hi-fi, hi-gloss sheen that has come to be the signature sound of the “Skymall Studio”. Recent releases from Skymall, produced by Adrian, include On the Prowl Again, Gotta Have It! by Purelle, and The New Age by Nick Stevens. Vacation Man features Knight’s stacks of vocals, bass (Swedish Strut™), plucky guitar work, and of course a buffet of synthesizers. With a little help from his friends: drummer Mike Advensky (Blue Jazz TV), additional vocals from Alice Cohen (The Vels, Die Monster Die, Old English Spelling Bee), sax and flute from David Lackner, and a trombone cameo by Nick Stevens. Vacation Man is an all expenses paid trip starting in the “data room”, continuing through the cosmos, perfect beaches, quick stop at the “playpen”, love found and lost, and all that life has to offer. Then again, maybe it’s just a hospital waiting room, and soon enough, you too will be joining the cosmos…
Christina Kubisch – ‘Schall und Klang’ CD »Schall und Klang« is the result of Christina Kubisch’s extensive fieldwork on the trail of Hermann Scherchen (1891-1966), conductor and key figure in 20th century new music. After moving to the village of Gravesano (Ticino/Northern Italy) in 1954, Scherchen established an electroacoustic experimental studio on his premises and created a meeting place for scientists, composers, musicians and sound engineers from all over the world. Among his guests were Iannis Xenakis, Luc Ferrari, Edgar Varèse and Luigi Nono, just to name a few. Originally commissioned and broadcasted by Deutschlandfunk Kultur, »Schall und Klang« is a personal portrait of Scherchen and his time in Gravesano. Kubisch brings together archival footage from the Scherchen estate and the Scherchen archive at Akademie der Künste in Berlin, tape recordings, recited texts from Scherchen’s own quarterly »Gravesaner Blätter« as well as her own compositions and field recordings referring to her research made on site in 2016. »I have built this studio for myself […] as a direct activity for my existence. I live Gravesano« (Hermann Scherchen) Production: Deutschlandfunk Kultur / Studio für Elektroakustische Musik der Akademie der Künste / Studio Hoppegarten 2017. Edition of 500 copies in Digipak, incl. 8pp booklet with photos and texts by Christina Kubisch. Christina Kubisch, born 1948 in Bremen, belongs to the first generation of sound artists in Germany. Studied painting, music and electronics. Own compositions since 1972. From 1980 increased sound installations, sound sculptures as well as electroacoustic compositions and radio plays. International scholarships and awards. Teaching as a professor of audiovisual art from 1994 to 2003 at Kunsthochschule Saarbrücken. Christina Kubisch is a member of the Berlin Academy of Arts. In 2016 she was awarded the Karl Sczuka Prize together with Peter Kutin and Florian Kindlinger for the piece “Desert Bloom” (WDR 2015). Her musical works have been released by labels such as Important Records, Edition RZ, Cramps Records and Gruenrekorder. Kubisch lives in Hoppegarten near Berlin.
Stefan Roigk – ‘Suffering For The Promised’ LP Being in the making – or un-making – for the past 14 years, Stefan Roigk’s »Suffering For The Promised« has gone through many stages, from being finished, revoked, left untouched, reworked, discussed to finally getting banned onto vinyl in its ultimate and irrevocable form. An atmospherically intense but yet utterly fragile piece, combining concrete sounds, field recordings and devotional vocal fragments to an eclectic and highly intimate composition, consolidating Roigk’s position as one of the top players in the game. Edition of 316 copies on black vinyl, incl. full-colour inner sleeve w/ text by Stefan Roigk. Stefan Roigk (b 1974) is a multi-disciplinary artist living in Berlin. Roigk deals with the borders between sound collages, sculptures, installations, film and graphical scores. His artistic strategy lays in the combination of different types of media to one single composition. Roigk’s previous musical works have been released by labels such as Tochnit Aleph and Senufo Editions.
John Davis – ‘Visiting the Sky’ LP The two tracks that stretch this LP register two different approaches. The first side is the result of a collaboration for the film “Harbour” by Eric Stewart. Here, John’s intentional score finds a functional equity with the themes, images, and ideas inherent in the work. Dreamlike nature sequences combined with atmospheric detail provide the listener with an almost visible resonance, as apparitions of Westward Expansion echo through every transition and phase of the recording. For the second side, John utilizes various instruments that favor more discordant and angular structure, settling into an ethereal mood with spacious guitar, keyboards and field recordings that ease the listener toward the afterglow of a winter sun.