Lärmschutz & Sergei Tumanov – ‘Atonal Echoes’ A sound collage focusing on the interaction between classic acoustic instruments, electronic sound processing and effects and integration of white noise radio transmissions. This work is part of a series on the topic of exploring the contribution between an artist and the environment.
Auvikoque – ‘Volatil’ Live recordings of improvised and composed fragments. Two unlikely and unexpected performances for audiences attending a post-metal event and a chamber music festival, respectively.
Jean-Baptiste Geoffroy & Leo Suarez – ‘L’Animal Acclimaté’ Far-spread exchanges in a currency of altered moments via The Loire River, train platforms, or a swamp near Lake Ontario. An auditory study of “adjustment” within cities, nature, and the fractured sprawl that lies in-between.
X.Y.R. – ‘Anciente’ LP The Russian producer Vladimir Karpov is well on his way towards a lasting legacy as a modern synthesizer wizard in the grandiose vein of Vangelis and Jarre. With a propensity for concept albums he has built a sturdy discography during this past decade that echoes the progressive ideas of the psychedelic generation as it moved into adulthood with Moog in hand. Being equally a part of the postmodern generation; Karpov’s ouvre also embraces the utopian daydreaming of the new age, the environmental concerns embod- ied in field recording, and the holistic approach of Jon Hassels 4th world concept. While the esoteric fantasies of previous works linger on, the conceptual aspect of Anciente is rendered more abstract. And instead of dividing ideas into tracks that form an album, here Karpov is pushing the boundaries of his compositions further into longer forms. Like trails into humid forest landscapes, they run deep enough for one to get lost along the way. Clocking in at a neat 20 minutes per side, the two tracks that make up Anciente weaves soft brushes of undefinable sounds and tropical field recordings that almost create ASMR-inducing vibrations in the minds of the listener. Eventually they might open a door- way to a twilight-lit wilderness and the possible secrets of the first civilised men. As Carlos Castaneda once wrote, relaying the wisdom of the Yaqui; “twilight is the crack between worlds. It is the door to the unknown”. Or, as in this case, the door to the ancient.
History Of Leather – ‘Courte Oreilles to 33rd’ C20 Brute rust belt concréte compositions of full spectrum, delicate yet hard-edged crumbling narratives from Chicago’s south side. Edition of 100.
A Fail Association – ‘This Will Hurt You More Than It Will Hurt Me’ C60 Round two for the Sheriff of Dada Drumming and mayor of Funkytown, TX, with two brickwall tracks recorded in 2018. The second AFA release for MT coming 16 years after the first. A solid hour of choice damnation, unrelenting. Edition of 100.
Cronies – ‘Cronies’ New York’s Cronies were formed by brothers Jack and Sam Carillo in June 2020, the creative offspring of Covid and isolation. Initially laying down tracks in a make-shift home-studio, they pulled in Shea and Brad, (their fellow bandmates in other New York bands Stugots, Drink Brothers, Filthy Gorgeous), swapping sounds and crafting the songs until the band could safely collaborate in person to record this beast of an album, which comes at you kicking like a mule on PCP.
Black Tempel Pyrämid – ‘Infinite Tombs’ Black Tempel Pyrämid is an experimental American primitive Krautrock band from Fort Collins, CO. It’s one of Patrick R. Pärk’s sonic endeavours that frequently turns meandering drunken-stoned midnight introspections into lo-fi, drone-fuelled soul eviscerations. Infinite Tombs was recorded in March 2021 at FoCo Sonic Studies in the Horsetooth Mountains, around the one year anniversary of when COVID became an official nightmare. This album is dedicated to all of the front line workers who have selflessly given their time and souls to humanity as there’s no looking back.
Easter – ‘Live at SSR’ Recorded at the School Of Sound Recording, Manchester behind closed doors on the cusp of the big lockdown, this set captures the band at their most freewheeling; with a new line-up giving the songs a fresh take off the back of a tour with Bromide and Dark Globes. Manchester indie-rockers Easter have released two albums, two EPs and a clutch of smaller releases, building a reputation as one of the city’s best-kept secrets. Spurred along by singer/songwriter/guitarist Tom Long with a rotating cast of Manc-underground shredders, they’re a formidable live act who have toured the U.K extensively; embodying the spirit of ‘Ragged Glory’-era Neil Young, Television and Dinosaur Jr while also the likes of Chris Forsyth’s Solar Motel Band and Yo La Tengo.
e & H – ‘Road To Saturn’ e & H is the duo of eleOnora and Richard Thompson. Based in the Baltics (Tallinn and Rīga respectively), their practice is based around live, improvised expression through vocals, guitar and microsynths. These live recordings were made in Riga in April and June 2019. eleOnora is an avant-garde singer and vocalist, who resides in Estonia – being half Latvian and half Estonian by descent. She studied extended vocal techniques under the guidance of Anne Türnpu (Estonian actor & director). In 2014 she formed the avant-garde blues duo Ringhold with guitarist Kalle Tikas. Richard Thompson is the founder of the experimental folk project Lost Harbours, the grass-roots, organisation Culture as a Dare and tape label Liminal Noise. He also plays guitar in the post-punk band Abuses.
Ryosuke Kiyasu + Watts – ‘Zero Gap’ Snare drum and vocals collide on a long-distance collaboration by Ryosuke Kiyasu (SETE STAR SEPT, Fushitsusha. Shrimp et al) and WATTS (Lump Hammer, Plague Rider, Lovely Wife et al). Recorded in Japan and the U.K. respectively, and mixed by David Curle at First Avenue Studios, Newcastle. Zero Gap is constructed entirely from one snare and one delay drenched throat. Clattering and rasping around each other for just over half an hour they explore the outer range of their respective instruments’ sound worlds.
Ski Crime – ‘Watermelon Snow’ Cape Town’s As Is experimental music veterans Andrea Dicò and Garth Erasmus had a chat with two HNW dinmongers Justin Allart and Jacques van Zyl at a ROAR experimental music gig one evening and decided to team up as a noise collective. The name Ski Crime arose randomly during a wonky conversation about watermelons, an imagined murder on the slopes, and one that got away. A photo of the four sealed the deal. Ski Crime’s concept has hereto been tacit – freedom is encouraged to an extreme, and implicit trust becomes the driving musical force. Chaos embeds structure, and language is individually coded and understood – but emerges as a whole. The instrumentation is anarchic. Much of it is self built and designed. Garth plays a number of his own stringed instruments based around Khoisan indigenous knowledge systems (notably the Zaan,) and Jacques carts around a growing bevy of food containers, housing primitive and often autonomous electronic objects. Aside from his drum kit, Andrea pounds on a kid’s drum set, along with toys, thrash metal objects, and various cheap and crappy accessories. Justin rattles a contact miked can, filled with bolts and nuts, twisting his sound stream through an impressive collection of boutique pedals and electronic sound machines. As all four members are seldom in the same country (even if Andrea currently lives in Milan), live performances often include only three members. Lockdown created an opportunity to work together at a distance, and Watermelon Snow exemplifies this new remote collaboration methodology. Independent label from Fargo, North Dakota, Black Ring Rituals (https://blackringrituals.com/) contacted Ski Crime to produce an audiocassette with new materials. The common interest for power electronics, experimental and harsh hoise made everything doable very quickly.
Expo Seventy – ‘Evolution’ CS Aptly titled “Evolution”, the album showcases the trio-mode line-up led by Justin Wright at the peak of their glowing, spontaneously unique brand of slow-burning lysergic sounds and anthemic riffages. Sacred drone tones and spectral analog synth meditations evoking deep ritualized aural metaphysic experiments — elements widely known from Expo ’70, Wright’s solo moniker (Seventy is not equal to 70 in his universe) — gravitate around long-form, trance-like magnetic waves of heady guitar jams that stretch to the other side of the cosmos to effortlessly coexist with amazing doom-inspired heavier incursions packed with mystical blown-out riffs and megatons of amp toned torque. The outcome is an one-of-a-kind document of dark and cosmic psychedelia. Recorded over two distinct periods of time — partially analog to 24-track reel-to-reel and partially digital due to complications in demagnetizing the tape. – ESSENCE MUSIC. Sonic Meditations – Limited edition of 100 copies ETCHED SOLID BLACK CASES.
Lip Critic/Omnibael split CS/LP The pairing of New York City’s Lip Critic and Stoke-on-Trent’s Omnibael is truly inspired. The two acts are certainly more contrasting than overtly complimentary, but that’s the key to the success of this release. Lip Critic fully embrace the electronic, using it to construct a car spray-painted with all shades of hip-hop which they then proceed to drive headlong into a wall. Repeatedly. It may be a rather clumsy analogy, but on hearing this, it will make sense. From industrial jungle to electroskapunk drum ‘n’ bass, Lip Critic pack a lot of insanity into five short songs. Omnibael’s darker industrial leanings are a whole lot more serious, and a whole lot bleaker, evoking vintage Pitch Shifter and Godflesh: hard, heavy, and propelled by clanging metallic beats, theirs is the sound of rage, of fury, of powerlessness and nihilism.
P Wits – ‘Candle’ CS 6E P Wits shows another blend of glooming dark cloud guitar noise. The two side-long compositions of „Candle“ will take you on an eerie walk around some bleak neighborhoods you would actually prefer to avoid until you end up in a melting arm chair. Edition of 64 numbered copies.
The Savage Young Taterbug – ‘Ragman Transmissions Volume 1’ CS $8 For many years now the Savage Young Taterbug has wandered America’s hinterlands, bewitching drugstore clerks and gas station attendants with his balladry. “Ragman Transmissions” cobbles together songs he raw-dogged on the road, left in the tape decks of friends and fellow freaks, and abandoned or simply forgot about. A few songs carry on his signature swirl of transistor static and scarecrow spirituals. Others catch him in private, tinkling on the piano and crooning deliciously. Still others are bona fide studio slammers buoyed by thick licks and harmonies. Who knows how many Taterbug tracks still lurk out there, like old jellybeans wedged between cushions. Volume one is our humble effort to round some up and savor their strange flavors.