Stuart Chalmers – ‘Imaginary Musicks vol. I – V’ 4CDr
5 volumes in 4 CD, almost four hours of music. Each volume presents a different aspect in the world of the unreal. The series is a re-imagining of old, dusty and forgotten cassette samples. Each piece a decayed relic of a lost civilization from a past/future that never was. A sort of fanta-cosmogony formed from improvisations using cassette tape, synths, effect pedals and a circuit bent keyboard. Fans of Nurse With Wound, Aaron Dilloway, Tom Recchion and William Basinski n won’t be disappointed. edition of 50 copies.
Ivory Trade – ‘The Untold Gaze’ CS
Like fragments of almost shattered memories from a personal audio archive of (micro)cassettes. edition of 50 copies.
AndroidSpace – ‘Beautiful Mistakes’
“AndroidSpace are an East Coast duo who have spent over two decades as graffiti and hip-hop heads, finding much inspiration in their record collections. On their debut album, ‘Beautiful Mistakes’, the two channel that inspiration into homage with genre-bending compositions that meld new wave, witch house, shoegaze and even hip-hop. The album is a sprawling collection of deeply personal stories and experiences, with a surprising range of instrumentation, emotion and style. The album’s first single “Atmosphere” is a slow and brooding number, with heavy vocal delay and an industrial beat that set the tone for the album. Another highlight comes from “Jamage Voltron”, a heartfelt track that explores themes of love and loss, a reoccurring theme among the album’s 19 tracks, with a heavy hip-hop beat and vocal influence driving the album forward. Some of the album’s catchiest moments come from its ballads “Before We Go” and “Retrieve Our Bones”, the latter being one of the album’s highest points.
Threes And Will – ‘Purge Of Genden’ C46
There’s a definitively dystopian zeitgeist to Threes & Will’s last output. Always noisier and more on the headbanging mantraïc style, this eclectic Estonian venture sounds inspired by famous filmmakers Konstantin Lopushansky and Piotr Szulkin, making it an excellent soundtrack to your next local polling day. Turn off the sound of the TV set, smash the remote on the wall and press play on that tape player. It’s been waiting to get back in service for too long.
Draisine – ‘Cave Sessions’ C90
Being able to record at home, down in the basement, made long improvised sessions possible, collecting hours of materials… which I really didn’t see any point in editing or mixing anymore. I usually end up throwing away hours of work in front of the digital treadmill so there, here they are, the raw and uncooked, in the form of variable combinations. There’s a total of nearly 8 hours, each order gets a 90mn tape including a random selection. 100% improvised electric guitar & effects. The whole is available on bandcamp and there’s also a unique copy available to order with all material on 5 tapes.
[mt110cs] Slow Tongued Beauty – ‘Sopportare’ C28
Sopportare translates into english as ’to bear’ — and it is a dark journey through aggressive electronic synthesis transitioning from calmer passages of modular minimalism, to arrhythmic industrial jackhammer brutality, noise cut-ups and harrowing, dramatic sound design, each with razor-sharp precision. Slow Tongued Beauty is the project of Ryan Scott Kerr, based in Philadelphia. Edition of 100 copies, with artwork by Catherine Mulligan.
[mt111cs] Hostage Pageant – ‘Extinguisher’ C20
Breakneck noise suffocation from Shane Church, taking the project back to it’s inception with two short, sharp shocks of fire and smoke that maintain the rawness and fluidity of live dynamics; no breaks, no breathing room, no subtlety. Edition of 100 copies, with artwork by Shane Church + JB.
Rainbow Island – ‘Crystal Smerluvio Riddims’ LP
Rainbow Island are an interdimensional-psych band based in Rome, Italy. Crystal Smerluvio Riddims is their second LP following their acclaimed debut RNBW, released in2012, two cassette releases and their participation in theInterdimensional Folklore Vol. I compilation release by the Milan Communion collective in late 2016. They are a prominent voice in the Italian psych underground and in the Rome psych community that gravitates around the DalVerme club, the Thalassa festival and bands such as Mai Mai Mai and Heroin in Tahiti. Rainbow Island explore interdimensional territories and frequencies coming from distant universes and unchanneled frequencies. Their sound brings together elements of electronics, psych-space rhythms and temporal explorations. RNBW was meant to be the inauguration of the project and the launch of the journey to the unexplored Bongolandia, while Crystal Smerluvio Riddims is the continuation of the exploration, brought to a more mature and conscious level. In this new album Rainbow Island’sfuturistic psychedelia meets dub and primitive rhythms. Crystal Smerluvio Riddims is released jointly by Flying Kids Records (FKR) – FKR also released Rainbow Island’s first album RNBW in 2012 – and the Rome-based NO=FI Recordings, that already worked with Rainbow Island in 2013 for the tape Road to Mirapuri. The graphics project for the new album has been curated by multi-artist Canedicoda, who is also responsible for the experimental project Ottaven
Donato Epiro – ‘Rubisco’ LP
Rubisco is the second full length album from Donato Epiro. Following his debut album Fiume Nero (2014), the young Italian composer has moved from the raw primordial chaos that characterised his first work to develop a reflection on how a hypothetical absence of humans and biological life could modify industrialized and civilized spaces. Using field recordings, obscure samples and FM synthesis, Epiro draws his abstract landscapes as a series of overexposed and imprecise pictures made by concrete and organic architectures, amorphous rhythmic patterns, repetitive sequences broken by oblique elements that seems looking for a new active role into the ecosystem. Exploring communication and transitions between the inanimate side of the existing and the living one, the sound of Rubisco seems to be pulled out from the walls of an abandoned building or captured while it is lying on the ground of empty spaces or fluctuating like fine dust through the light. It leads the listener into a form of “after rave” limbo, or a personal hiding place, where the head projects only the image of the sounds you’ve listened to during your human experience. The result is a record that plays with taut minimal touches, inspired by the work of Egisto Macchi and Angus MacLise, alongside the sonic delirium recently dreamed up by the likes of Demdike Stare and Fis. Mastered by Neel. Ltd LP to 300, cut by Beau Thomas. Artwork photography by Kazuma Obara.
DK065 Sindre Bjerga – ‘The roots of synchronicity’ C30 €5
…cassette player drones and kitchen sink psychedelia, sound ghosts hidden deep in the molten magnetic tapes.. always aiming for that mind-altering head trip… These are a few words that can be considered as Sindre Bjerga’s music manifesto. His electro-acoustic tape glissandos, static hums and pops can be linked to that famous 70s parapsychology book, to which both the title and the artwork ironically pay homage to. The track are extrapolated from livesets made in Holland, UK, Finland and Norway from 2014 to 2016.
DK064 Deison – ‘Mutazioni’ C30 €5
“Ogni istante ha la sua musica irripetibile che si fonde con la luce e con l’aria dell’ambiente”//“Every moment has its own unique music that blends with the light and with the ambient air” (Enore Zaffiri, 1968) Deison is involved in the experimental electronic area from more then 20 years, (he played loops and voice in Meathead during 90’s) and he approached the world of sounds doing his own tape collages with tape recorders, turntables and objects mainly in the field of experimental noise; he established a small label (Loud!) and began to collaborate with artist like Lasse Marhaug, KK Null, Teho Teardo, Thurston Moore, Scanner, Shee Retina Stimulants, etc… Influenced by the experimental music, ambient minimal electronic as well as a great interest into digital music and sound design, he operates with loops, field recordings and drones to develop swirling electronic sounds of enormous range and complex musicality. Waves of looping deep ambient scapes, penetrated with sample fragments and light additional noise-ambient textures form Deison’s silent, minimal frame-set. His works have been released on Silentes Records (Italy), Aagoo (U.S.A.) and various labels in Japan, Germany, Switzerland; new collaboration works emerged with Candor Chasma, Sara Galan and Mingle. He also contibutes sounds for his more dark-ambient duo Cinise (with G.Santoro)
Anthony Vine – ‘Remnants’ $7.5
Composed and performed in New York during the balmy months of 2016, “Remnants” is a 65 minute collection from the mysterious inner world of composer, Anthony Vine. In this world, music is a place, a dream, a living landscape; it’s a swirling conversation between close friends playing guitar, saxophone, piano, harmonica, melodica, bass, and percussion; wandering through found sounds, vast microtonal systems, and fragile moments of improvisation and chance. Not so easily characterized, Vine is rooted in contemporary classical music, while “Remnants” finds itself sliding into the outer realms of jazz, minimalism, and ambient music.
Effenaar is a music venue located in Eindhoven, Netherlands. It was founded in 1971 and has hosted many national and international concerts throughout its existence. Bands like Joy Division, Sex Pistols or Cabaret Voltaire have played there. During late 70s and early 80s, young people from Eindhoven used to spend most part of their time in Effenaar . It was a meeting point for people with cirtical views of society, politics and establishment. But also this place was a counterculture input in whatever art discipline. From this environment came up an underground and avant-garde scene that Carlos Van Hijfte (founder of Kremlin Records) captured by producing in this single. Limited editon of 500. Sound from original tapes.
Charlemagne Palestine – ‘Strumming Music’ LP
This classic minimal music album is now available again on vinyl for the first time since the 70s. Primed with a glass of cognac Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-coloured overtones. For 45 minutes this rich pulsating music swells and intensifies, filling the air. When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called Minimalist company of La Monte Young, Terry Riley, Steve Reich and Philip Glass, whose work also featured in the Shandar catalogue. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times the opulent fullness of his music would more accurately be described as Maximalist. Strumming Music, recorded in Palestine’s own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York, as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician. Although the technique of the piece has roots in Palestine’s daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the colour moods, plastic rhythms and tactile space of Mark Rothko’s Abstract Expressionist canvases. Strumming Music remains the essential index of Palestine’s singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. He had already been playing church organs for several years, relishing their power and presence. Now he had found a piano that satisfied his need for sonic depth and weight. “The Bösendorfer at its best is a very noisy, thick molasses piano,” he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music. “My rhythms are sexual, not machine-like.” Charlemagne Palestine, in 2013.