HIRAM – ‘Water Rise’ C30 An offering of ethereal evaporation sound from HIRAM, bearing new works in morphing formation. Several pieces document the artist in live outdoor solo actions over the Summer of 2021, with music created both in the midday shade of the Mississippi River’s shore in Minnesota, and under the nighttime desert skies of New Mexico. The track “Wind Song” is built upon the grace of nature’s breath, with field recordings from Joshua Tree, CA blending with the melody of a 15 string zither. Hiram’s use of horns, flutes and reeds through the work breathes an air of life, with electric piano, voice, chimes, tongue drum, shruti, tanpura, synthesizer and tapes mixing with the sounds of the environment, connecting self to space in a new form of harmonic resonance. Music for condensation. Dedicated to our Earth’s most precious water, bringer of all life. Real time duplicated, clear shell Chrome Type II c-30 cassette with b/w printed labels and hand-stamped green ink detail. Comes packaged with double sided 12 pt gloss cardstock J-card, featuring original full color photography from the Boundary Waters Canoe Area Wilderness. Limited edition of 40 copies.
JASON ALLEN MILLARD – “Solid Enough” b/w “Dark of Night” 7″ lathe A lovely dish of blasted basement balladry from J.A.M. “Solid Enough” brings a late night deep twang, with a lost highway tone and shambolic strum. “Dark of Night” is wedged into an opposing corner, with J’s tell-tale magnetic blur and warped acoustic zone, some weird shit hides in the shadows. “I’m up all night hearing my wheels spin. Up all night, up at night again.” Square record cut in MONO to clear polycarbonate with printed b/w labels and hand-stamped metallic silver ink detail. Housed in clear poly inner sleeve and packaged in white reverse board outer pocket sleeve with custom paste-on artwork featuring original photography with silver hologram printing. Ultra-limited edition of only 10 hand-numbered and stamped copies.
PADANG FOOD TIGERS – ‘God´s Plenty’ The London duo of Stephen Lewis and Spencer Grady – introduce us to an enchanting world, often surreal, ambient-folk tapestry full of dreamlike reveries and poignantly real memories. Although the music is deeply rooted in blues and folk, we can hear echoes of Ry Cooder or Virginia Astley, their approach transcends anything you have listened to before. Magical.
MOON-LITERS/MILLENNIUM DEVELOPMENT GOALS – ‘Nerve Agent!’ Philadelphian D. Liedel offer us a peculiar blend of rock, jazz, electro, metal, hardcore punk, mambo and calypso. Don’t let yourself be fooled by the familiar melodies, because anything can happen at any second in surprising ways. Authentic, grounded and profoundly popular.
LUIS LOPES LOVE SONG – ‘Emmentes’ Third opus of Luís Lopes Love Song series on Shhpuma, this time with only a nylon-stringed acoustic guitar. Since the amount of devotion and give of self that Lopes always puts in is music the result is an intimate, profound and beautiful music.
Leo Okagawa – ‘Zapping (Station to Station)’ 8€ Leo Okagawa is a sound artist living and working in Tokyo, Japan. He creates music mainly with field recording and raw noises. Zapping (Station to Station) recorded through quarantine in Japan. His main audio material was recorded in metro stations and radio stations, between April – May of 2021.
Stephen Cornford – ‘Domestic Music’ 8€ A state of enclosure” was recorded May 2020 for AMPLIFY 2020: quarantine.“A finite number of rooms” was recorded June 2020 for the ‘Building A Better Reality’ Black Lives Matter benefit compilation on JMY Music. Both are loosely based pages from ‘A Score for Piano’ written by Sarah Hughes in 2010.“After their departure” consists of a hearth recording made in January 2021 and a cassette recorded years before and found again in March 2021.
Jacken Elswyth – ‘Banjo with the sound of its own making’ Jacken Elswyth returns with an album that closely marries her practice as a musician and as an instrument maker. Banjo with the sound of its own making, released this month on Fractal Meat Cuts, comprises six improvisations and two traditional tunes for mountain banjo alongside layered and manipulated audio recorded during the building of the banjo played. Edition of 80.
Ivan The Tolerable – ‘Autodiadact II’ The latest instalment in Oli Heffernan’s prolific ITT project, this album started life as three separate recording sessions in July and August 2021 – work for a soundtrack to a series of films about psychogeography and North Yorkshire folklore, a remote improvised session with Christian Alderson (The Unit Ama/Archipelago) and a solo EP of arpeggiater repeat drones and freak-folk. Originally intended as three EPs, the flow and theme running through them lends itself well as a single album, linking previous release ‘White Tears’, (Library of The Occult) and forthcoming album ‘The Long Year’ (Stolen Body)
Deadman’s Ghost – ‘Tethered Tales’ This album presents alternative audio reels for two experimental short films from the 1950s. These new scores explore the worlds of isolated characters seeking to free themselves from repressive forces, implying narratives not originally intended by the directors. Once loose of their visual anchors the resulting tracks unfold as ominous, shifting soundscapes. 1 : The Poisoned Wood. Written for Arrière Saison (1950. Directed by Dimitri Kirsanoff) In this rural drama, a woman plots to escape the remote place where she lives with her woodcutter husband. A mixture of drone, folk and field recordings lend the story a sense of tension and dread. Has the forest placed a curse on the couple due to the husband’s actions, or is there some other dark undercurrent to their marriage? 2: The Blind Prophet. Written for The Way to Shadow Garden (1954. Directed by Stan Brakhage) Synths and samples evoke the shadowy forces of an era which spawned McCarthyism and Project MK-Ultra. Was the protagonist a subject in a secret government mind control experiment? Back in his urban apartment, strange phenomena, radio propaganda and a book of Greek tragedy propel him on a terrifying quest for enlightenment.
One Key Magic [OKM] – ‘Worldly Noise and Electronic Atmospheres’ Situated on the edge of the North York Moors in North East England are three giant, geodesic domes containing the space radars of the Radio Corporation of America (RCA). Built in 1962, the purpose of the ‘radomes’ at RAF Fylingdales was to track everything in Low Earth Orbit and distinguish the signal of an incoming nuclear weapon from the ‘noise’ of satellites and space debris. Along with designing and building these radar systems (as well as those on the Apollo program’s Lunar Module), RCA developed revolutionary innovations in recorded music such as the velocity microphone, the 45rpm single and the music synthesizer. Indeed, during the early years of operations at Fylingdales, the supply chain of radar component parts (many of which were the same switches and dials as those used on early RCA synthesizers) was managed from the same office that dealt with the distribution of records by ABBA, David Bowie and Iggy Pop. Dr. Michael Mulvihill, artist and research associate in the School of Geography, Politics and Sociology at Newcastle University, is the first artist in residence at RAF Fylingdales. Together with musician and producer Chris Tate, the pair formed One Key Magic to interpret and materialise the scintillations and aurora of these electro-magnetic engagements, while folding together the geographic, cultural and historic trajectories of music production, space exploration and nuclear deterrence. The starting point was to make audible the electromagnetic pulses from the space radars, and from the Apollo Lunar Module, as drone tones. By transposing the frequencies of the radar pulses, they were brought into the range of human hearing and a different composition for each radar location was created. Compositions were improvised over the tones, with the musical key and relevant melodic scales being determined by the fundamental and harmonic frequencies present in the radar pulse drones. Using synthesizers and guitar played with electronic bow (a device which uses electromagnetism to vibrate the strings without touching them), morphing textures were allowed to form and flow. Seeking an immersive sound through processes of human and the more-than-human creative forces interacting within the world, the project shares sonic concerns with artists and musicians such as Laurie Spiegel, Catherine Christer Hennix and Alvin Lucier. One Key Magic seeks to make audible the way that electromagnetic practices of nuclear deterrence have invisibly shaped our experiences for the past half a century. FFO Spiritualized / Spacemen 3 /analogue ambient synth drones
Ddrome – ‘Beyond The Thunderddrome’ Jamie Davis is drummer with Dublin improv group Zeropunkt. This is his second outing as Ddrome. The first release being ‘Perimeter’ in May 2021. on Dublin label, Last of our Kind. ‘Beyond the Thunderddrome’ sees him in similar drum n’ drone territory, sticking to his twenty minutes-per-track format. It was recorded in August 2021. ‘Fearless and feral wins the race’ is inspired by his witnessing of young people rioting in Dublin in late summer during Covid lockdown, It’s fluctuating rhythms and tension and release echoing these events. The nonchalant whistling motif a nod to casual violence. The album’s other track ‘Stairdust’ is just that. Cosmic sonic household DIY if you will. An obvious pun on ‘Stardust’ but proof that you don’t need to travel too far to leave earth. Household finds make crystalline bell sounds and jazz brushes sweep up the dust.
Willie Stewart (Woven Skull) – ‘Let’s Explore The Floor Tom’ Woven Skull’s Willie Stewart, takes us on an educational, inspirational and entertaining journey through the versatility of the Floor Tom, that’ll appeal to both accomplished and novice drummers and the casual listener, alike.
Native Token World Loop is pleased to announce the first release by Native Token, a collaborative music project by Benjamin Bernt and Kristoffer Kjærskov. Exploring intuitive and improvised layers of sound merging in and out of continous drifting loops, Native Token builds upon a foundation, which gradually transcends through genres, implementing a rich variety of instruments and sound apparatuses such as: Marimba, harp, guitars, ukulele, bass, drums, field recordings, synthesizer, Kalimba, flutes, tapes, pedals and more. The recordings released on this album are available as a limited c-50 cassette (2 x 25 min) that have been recorded during live studio sessions in 2021, using a zoom h4 and a Tascam DR-05 field recorder.
R.Y.N. – ‘Cosmic Death’ For the uninitiated, R.Y.N. was the drone / void ambient project of Gateshead duo Pete Burn and Dean Glaister, active from 2003 to 2011. his release presents the band’s two 2008 albums ‘Cosmic Birth’ and ‘Astral Death’ together for the first time as a double-cassette package, complete with 11″ x 11″ poster featuring original artwork by Burn, taken from James Plotkin’s (Khanate; O.L.D.; Scorn) original masters.
QOHELETH – ‘Warmonger’ QOHELETH is built from the last remaining scraps of their sanity (Jeremy Hunt, Mike Strickler, and Caiden Withey). The resulting sounds and sights of the collective are rooted in upheaval: loud, obnoxious, and discomforting. Throughout their five-year existence, they have focused on three central tenets: pushing the musicality of noise to its limits, never standing in one place for long, and continually asking questions. Their latest album, Warmonger, explores the American love affair with violence. What happens when a country is: founded in violence, endowed with a mythos that both ignores and celebrates destruction, and continues to perpetuate it, over 200 years later? The American Dream is a violent one. What happens next? Warmonger reveals a more communal aspect of QOHELETH, as they invited friends to lend their vocals and noise-making talents to the party. Artists E.B. Taylor, K, Juan Carlos Lopez, and Jon Michael help broaden the sonic palette of previous albums, offering their own perspectives on what violence hath wrought. At the core, this record is one of lament, anger, and grief, tinged on the edges with hope. If there’s a path towards life and well-being for all, it has to start with a reckoning. This is ours. (includes the bonus free 6-track EP ‘Contaminator’ download)
Empty House – ‘Mushin’ Empty House is the new project from Fred Laird (Taras Bulba; Earthling Society). This debut record was recorded over a three day period in March 2021. The idea was originally based on the music set out by The Taj Mahal Travellers freeform soundscapes, Midori Takada’s marimba and harmonium excursions and Usuma Yakoto’s minimalistic rhythms. The Zen Buddhist approach of No-Mind or Mushin was adopted in the freewheelin’ way the album was created which was in a consciously unconscious manner with no actual idea or blueprint beforehand. Pick up whatever instrument is around and play and see what happens. The instruments that were around at the time of recording were – Organ, Guitar, Bouzouki, Shakuhachi Flute, Dizi Flute, Temple block, Tibetan bells, biscuit tin, a buddha radio, one of those drums that hippy buskers plonk about on outside Scope, congas and a Gakken Synth. Some field recordings were created by capturing a leaking faucet in a garden centre and the eerie sound of some bamboo chimes recorded in Fred’s garden the day after the first lockdown started (no traffic on the roads, up in the air or out in the street). ‘Mushin’ means no-mind or empty mind that you attain through meditation or if you’re a martial artist through your patterns (Poomsae, Kata etc). However recording an album on achieving Mushin, would be the sound of silence. So, the idea was to create drifting pieces of music like when tiny thoughts or images drift in and out of your head whilst trying to achieve Mushin – The distractions so to speak.
Orrin DeForest – ‘Harshcore 98-00’ A band of near mythical status Gateshead’s O.D.F. blasted onto the North East’s harshcore scene in 1998 and were gone in a flash three years later; their 2001 split album with Newcastle’s Jazzfinger the only remaining recorded output. Featuring the talents of Pete Burn (Marzuraan; R.Y.N.) and Rob Woodcock (Marzuraan; Tide Of Iron; Fret!; Platemaker et al) and remastered by Graham Thompson (Ballpeen et al), this re-issue of long-lost recordings, captured in 1998 and 2000, is a welcome reminder of the unconstrained liberating spirit of UK harshcore and a missing link in North East England’s rich hardcore punk lineage.
Saint Idiot – ‘Alternate Utopias from a Nostalgic Future’ CD Tomáš Andel (a.k.a. Saint Idiot) is a Slovak-born Canadian art pop musician, sound designer, and multimedia artist from Edmonton. His music has been interpreted as a deconstruction of pop; familiar song forms done up with sophisticated sound palettes, set in lush, carefully textured compositions, that are both a little futuristic and a little mossy. The music and world-building of Saint Idiot is inspired by the fantastic multi-sensory worlds of artists like Laurie Anderson, Björk, and Bowie, as well as the continuing legacy of bell hooks, Zen, and Deep Listening. Alternate Utopias from a Nostalgic Future is about belonging and interconnectedness in the age of hyper-individualism.
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.