Fabrica

RAMBUTAN – ‘Inverted Summer’ LP
rambutan_lp“‘Inverted Summer’ is the full-length vinyl LP debut of Eric Hardiman’s (Century Plants/Burnt Hills) solo project. As Rambutan, Hardiman has released a steady stream of quality material on a variety of underground labels since 2007. Subtly bridging realms of noise, dub, psych, drone, minimalism, and musique concrete, Rambutan brings listeners into a unique sonic headspace that finds common ground between bliss and dread. Utilizing various electronics, synthesizers, tapes, guitar, and bass, “Inverted Summer” is a sprawling, wide-angle piece of work, yielding deep zones of textural soundscaping that can soothe and unsettle in equal measure. “Inverted Summer” captures Rambutan’s thick, dubby atmospherics in all their glory, revealing Hardiman to be a sound artist whose improvisational techniques are as formidable as his sense of structure and development. These are alien soundtracks for the recombinant generation, just waiting for you to disappear into them.” Mastered by James Plotkin, and cut by Golden Mastering. Edition of 300 on black vinyl. Includes free download code.

PUBLIC SPEAKING – ‘Blanton Ravine’ LP/CD
300On his knees in a semicircle of electronic processors and percussive clutter, the singer quakes and moans, possessed with a passionate, paranoid vision. Public Speaking is the solo moniker of Brooklyn experimental musician Jason Anthony Harris. Utilizing found objects, radio, tape recorder, synthesizer and effect pedals, he constructs percussive, textural music for his deep, soulful vocals to croon over. Somewhere between Brian Eno and Tune-Yards, or Tortoise and James Blake, Harris’ music explores pop music as organized sound. The Deli Magazine wrote: “This is soul music functioning as 21st century meditation… [This] is what happens when an artist personally realizes the sound of his environment, and puts it to use.” His first full-length, “Blanton Ravine” is a lush collection of songs and sounds drawing on avant rock, IDM, ambient, noise, and R&B. LP is in an edition of 225 w/paste-on art over all black jackets. Includes free download code. CD limited to 200 copies.

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NO=FI Recordings

TROUBLE VS GLUE – ‘Die Trauerweide’ LP
TvsG animal psiTvsG is a duo: as the name says, we can picture one of ’em as the Trouble and the other as the Glue, in a never ending fight made of synths, guitar, drums and wicked voices. After their debut album on the german label Urquinaona (“Zum Teufel”) and a song on the (in)famousBorgata Boredom – Music And Noises From Roma Est – LP, they strike back with some great new stuff: 10 killer songs for “Die Trauerweide” LP (eng. weeping willow). They might be two but they sound like a six pieces band! Groove drumming and percussions, killer synths and guitars, female/male schizo voices combined with a dadaist pop attitude into a mix of no-wave, weird punk and hypnotic synth atmospheres. At times TvsG sound like the Residents with a punk drummer, in others like a weird japanese electronic pop band from the ’80s, while some other tracks bring us back to the no-wave of Lizzy Mercier Descloux and DNA. These are only some analogies, because they’ve got totally a personal and original sound. Intense, dancey, wacky, sweaty, catchy: Die Trauerweide is a great album. 35mins of pleasure for Body and Mind! And just a suggestion: they are often on tour (more then 300 shows all over Europe, USA and Canada in the last 6 years), if you got the chance, go and see their live show: it will blow your mind!

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Tinnitus

TIN010 – USER32 – ‘.dll’
TIN010The first release from electronic/vaporwave artist USER32. From the artist: “The making of this EP was inspired by the beautiful Downtown Tampa. Each track is specifically chosen to be used for this EP because of how well they capture the feelings of Downtown Tampa during daytime and during nighttime.”

TIN011 – Loipe s/t
TIN011The debut EP from German “lehmrock” band Loipe; an instrumental three-piece that combines sludge, post-rock, shoegaze, math rock, and technical prowess to perform tight and stunning compositions.

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Saltland – ‘I Thought It Was Us But It Was All Of Us’ [Review]

Piles of salt mined by local residents sit on the surface of the world's largest salt flats, the Salar de UyuniStriking that sweet synthesis between familiarity and novelty is the first release from Rebecca Foon’s Saltland: ‘I Thought It Was Us But It Was All Of Us’ is as solo as it gets from a member of the Montreal musical collective which spun out Set Fire to Flames and Silver Mt. Zion.  As a former member of both those groups, as well as an active participant of Esmerine and regular contributor to a number of projects you’ve heard of, Foon cannot but use the palette of Constellation records to craft this introverted work of largesse.  In many ways comparable to the still undefeated ‘Desert Farmers’ by Hannah Marcus, on which several members of ASMZ sibling-band Godspeed You! Black Emperor lend support to massively up-tick the scope and depth of the singer-songwriter compositions, Saltland’s charms are in the details of this less-hearthy, more esoteric set of, er, “contemporary” tracks – at this point hardly experimental, yet eminently tasteful if melodramatic – recalling the solo work of Stereolab’s Lætitia Sadier, with a voice even nearer to Mia Doi Todd, and elements of trip hop recalling the continentalisms of Piano Magic, the pedigrees of all involved most certainly err toward the popular (though surely the voice of public radio could read the thing entirely through analogues of modern jazz).  From the perspective of the label, the move is admirable, akin to the aging graceful of Discord, where so many other peer labels (Sub Pop, Merge) went the way of industry, or broke-in-the-woods wild (Jagjaguwar, Thrill Jockey); the members are still up front and center, the sounds changing to match their station and not vice versa.

Most commonly nominated as a cellist, Foon leaves the instrument’s fanned patterns across every track, a tension which holds the whole hulking recording on tight-rope.  Like the green-blue/blue-green hairsplitting every child has known in a box of crayons, the songs alternate more or less evenly between the former ensembles: primarily, as 5-minute ASMZ edits, rather true to form with the addition of form breaking elements from Foon’s bloodless whispers (“Unholy”), the latter-day CST staple of Colin Stetson’s saxophone (“I Thought It Was Us”), or the first quarter of an anglophiled (Toronto-fied?) slow-burner (“ICA”).  Separated from the pack, it is remarkable how central the sound of Foon’s cello is to the sound of her previous group work.  Hence the familiarity without the derivation, as poppier tracks like “Golden Alley” open many more windows in the mansion, wafting novel comparison to those latter individuals.  Stand-out “Treehouse Schemes” places a subtler form of Sadier’s political satires between melancholy strings and a cassoulet of raucous percussion, to be honest, leaving an American befuddled for want of hard, informatic meaning (the source of much GY!BE hype) while otherwise seduced by a European tragedy-in-politics.  Though a “solo” work of sorts I may be unconvincing you of, Foon does not shy from erasing with one hand what the other has rendered: dropping a heaping ten-minutes of richly-ambient sound calories in the midst of the disc, “But It Was All Of Us” broils into the rolling backbeats of “Colour the Night Sky,” where Foon’s plaintive lines are eroded in lossy effects and an anemic sawing of strings.  And here is the final component, the production of Mark Lawson, which handles with high-definition mastery this diplomacy of materials, inserting perceptual false-walls and skylights like a somber Nigel Goodrich.  Raw listeners out there may grow sugared with the excess of polish, yet I imagine the bulk of fans who read this as a RIYL keyword search will be perfectly home-warmed with this novel collection of familiar sounds.

Constellation LP/CD
$17/$12
HERE

Enough Records

1984/Back to the Future
[EN] Concept album by an unknown artist, remixing rock classics and mashing them up with samples on the topic of mind control, power over masses and independent thinking. Part of our Anonymous Archives sub-label. [PT] Album conceptual pelas mãos de um artista desconhecido, remisturando clássicos do rock com samples sobre os tópicos de controlo da mente, poder sobre as massas e pensamento independente. Parte do catálogo da nossa sub-editora Anonymous Archives.

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Divorce Records

JFM – ‘JFM’ LP
JFM is the solo electronics project of Toronto sound and visual artist Jesse Matthews. A nomadic creator, he navigates the outer sound waves, plucking bits and pieces of junk noise from the sonic ether as he drifts. Sure, he is traveling light: just a sampler full of useless memories from the radio, birds from the park where he slept, dudes at a party, squealing feedback to stab at your ears, bass and drums lifted off a dance club from way down the street at weed alley, whatever. Everything has changed, you know? Now it’s all just electronic music for time gamblers and backwoods tweakers. I mean, Jesse and our pal Evan recorded some of this album from a remote control toy boat in a duck pond. Can you hear the black flies swarm as the sun comes up on their all night jam? It’s right there. Watch their eye lids gently close as those rays of light start beating down. Will you wade into J fm’s mind and feel around as he dreams music into colour, taste and matter? THE DOOR IS OPEN. Edition of 300 vinyl copies | DL.

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Like Young

Dally – ‘The Shine’
TINYDALLYFrom the wonders of Los Angeles, Dally bring forth some of the most intense goth-laced-pop jangles that are sure to provide background noise for your late night gatherings. Blending shoegaze stylings with nostalgic goth-wave hooks, The Shine creates an personal look into the sad creations that are Dally.

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Prairie Fire Tapes/Dub Ditch Picnic

PF-054 Flesh Coffin – ‘Raise the Dead’ C40
It took us almost 50 releases to reconnect with Andreas Brandal, but once we did, he offered us one hell of a tape. Raise the Dead is an astounding mix of the subtle and the violent. Lulling ambiences quickly shift to harsh and cacophonous volleys of near unforgiving noise. Unlike the walls created on his previous PF appearance as Museums of Sleep , Andreas creates a moving organic set of pummeling junk metal loops that smash and crash you into submission. Raise the Dead pairs well with batchmate Dead Machines for a stunning collection of harsh noise releases. Ed. of 40 w/ DL

PF 056 Worker – ‘Dead Machines’ C40
Our Vancouver friend Graham Christofferson (AHNA) graces us with a brand new set of Worker tracks. If you have been following the PF saga, you’ll know that we brought out Dream Dead early on in our discography. Dead Machines is a departure from that tape as the doom//drones have been replaced with 2x 20 min. of harsh industrial noise. Scraping, squealing, raw electrical buzzing permeates the magnetic impulses for a way more visceral experience. Dead Machines along with batch mate Flesh Coffin mark a return to our noise roots. We are thrilled. You will not be disappointed. Ed. of 40 w/ DL.

1971.034 Microdot – ‘Middle Age Dating’ C30
Our Winnipeg pals kick off summer with the follow up to their first DDP tape Lamps Not Amps. Middle Age dating shows marked growth in the band: in addition to the core of Bill Northcott, Rob Nay, & Jen Alexander is Jan Field on Gtr expanding the trio to a quartet & the actual recordings shift from two track ‘bash it out in the practice space’ to properly tracked and recorded thanks to the splendid new studios at UMFM. What hasn’t changed is the winning Microdot take of Kiwi garage pop now somewhat fused/fuzzed? with the post-punk sensibilities of bassist Bill’s solo project F.P. Tranquilizer. Their last tape made WFMU’s release of the day and a bunch of year end lists in Canada. We highly anticipate this one will too. Ed. of 50 w DL

1971.036 Moon s/t c25
We stumbled upon these East Coast Kraut-poppers quite by accident. After hearing some rough mixes of tracks that had leaked out to the internet via Weird Canada, we were smitten. Side A’s offrings: Stained Glass & Card Crane Ha consists transition from indie rock through strong krautrock and mod. psych stances. On the flip is Dented in the Bag, that recalls late 80s early 90s Sonic Youth only to end with the psych blazer, Bliss. Don’t let the shortness of this one detract you, it’s quality from beginning to end. Ed. of 50 w DL

1971.037 Aaron Sheppard – ‘Agent’ C40
Agent is multi-instrumentalist Aaron Sheppard’s 3rd proper release and first for Dub Ditch Picnic. Using synths, guitar, and sometimes the combination of the two, Sheppard creates a proper minimalist ambient vibe that often conjures up images similar to Manuel Göttsching’s mid-70’s solo work. There is a complex yet simple beauty at work here. Like the movement of the universe it begins with a dense center and slows moves outward becoming more and more expansive with each beat. Agent pairs well with Blunderspublik & English Dream. Ed. of 50 w/ DL

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Dokuro

DK041 Tether – ‘Guest Bed’ C44 5€
dk041apsiTether is the new moniker of artist Lauren Pakradooni (formerly known as PAK) her interdisciplinary work incorporates drawing, printmaking, painting, sculpture, installation, performance, and sound. She gravitates towards exploring space, making use of the graphic qualities of print, enveloping character of sound, and the literal space of sculpture and performance. She has exhibited and performed her work internationally, holding residencies in Doha, Qatar, The Netherlands, and most recently in Wassaic, NY. Tether is an ongoing experimental music project in which handmade cassette tape loops and various electronics are used to create recordings and live performances. Edition of 50 pro-dubbed pea greencassette.

DK040 Mudwise – ‘4017’ C32 5€
dk040apsiNicola Lucchese, born in the late 70′s and hailing from Quarto d’Altino (Venice , Italy) is not only a talented electronic musician but also a patient and expert technician. Former keybordist of the band “Captain Mantell”, Nicola now presents his skills with his solo project: Mudwise, entirely recorded live using his custom-built modular synth only. Edition of 50 pro-dubbed green fluo cassette.

DK039web

DK039 Pax Titania – ‘Rounds’ C30 5€
A kosmische drift through all kinds of synth music phantasmagoria. Endless loop listening is higly raccomended. Edition of 50 pro-dubbed gold metallic tapes.

DK038 Vales – ‘Elements’ C20 5€
DK038apsiVirulent overwhelming flow of sounds from modular synth multiverse. Maximum volume required. Edition of 50 pro-dubbed red metallic tapes.

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Not Not Fun

OCTO OCTA – ‘BETWEEN TWO SELVES’ 2×12″/CD
flooring masterpiece by SILK’s slow-simmering house savant. the
culmination of his arc to date: elegant metallic textures, soul-burned
vox samples, software dub, glassy pitch-shifted emotion. a haunting
peak statement by a true dude. on double 12 inch and CD.

SHAMS – ‘PIANO CLOUD’ 12″
brooklyn provocateur jonathan coward finally drops his vinyl debut and
it’s an immersive vapor chamber of balearic daydreaming and paradise
mnemonics. an ideal summertime slab of self-described “brunch house”
by the big apple’s merriest prankster.

SAPPHIRE SLOWS s/t CD
exquisite assemblage of the collected works of tokyo’s hidden gem,
sapphire slows, courtesy of japan’s DIY institution big love. the
‘melt’ 7 inch plus the ‘true breath’ EP plus a trio of rare unreleased
demos housed in thick cardboard cases with awesome art/design by
roland tings. these cost like 20 bucks in japan; super limited.

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