Dokuro

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)

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Galtta

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.

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Discos Transgénero

Effenaar 7″
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.

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Aguirre

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.

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Invisible City Records

Diurnal Burdens – ‘Inaction / Extinction’
A regular on the Manchester live experimental electronic scene, Ross Scott Buccleuch’s Diurnal Burdens makes it’s first appearance on a physical format after a handful of digital only releases. A 60 minute dose of dark analogue worship. Drawn out industrial drones sit side by side with barely perceptible melodies. Inspired by the writings of Thomas Bernhard. Hand dubbed black C60. Double sided, full colour artwork on 200gsm silk stock. Limited to 50 copies.

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Deathbomb Arc

DBA175 Baseck – ‘Erisfall’ CS
Released in support of the clipping./ Baseck west coast tour 2017. Baseck is a Los Angeles based experimental electronic musician. His roots run deep in L.A.’s underground rave scene since the early 90s. Baseck’s fascination with sound brought him to turntablism at an early age. The attraction to hands-on hardware learned from scratching records lent its way to audio manipulation with small battery powered toys, drum machines, and then modular synthesizers. His unique style and mastery of a wide range of music hardware created a segue into music technology. Since 2013, Baseck has been working with synthesizer companies offering design concepts that will enhance user playability. Dave Smith’s analog drum machine, Tempest, is released with presets designed by Baseck. Variatic Basicus, a Eurorack module created by Noise Engineering, was built for his live performance needs. At the peak of his performance, Baseck’s style builds on past musical experiments combining 80s drum machine sounds of Breakdance and Industrial, with a future approach to Drum & Bass and Braindance using analog/digital hardware.

DBA176 SARN – ‘Postmodern Trash’
Hailing from the bay area, SARN’s brand of experimental pop is kissed by both a love for noise and hip hop. The results remain distinctly melodic and sweet, even when tackling tough issues. From now until March 5th, 25% of the proceeds from this album will be donated to Planned Parenthood and another 25% to the ACLU. This is the 5th entry in the Deathbomb Mixtape Series, preceded by releases from Ed Balloon, Lana Del Rabies, SCUMBOYS, and the ‘EVIL II’ compilation.

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Palm Tapes

Matthew Milia – ‘Even Fuckboys Get The Blues’ C50 $5
“Even Fuckboys Get The Blues” collects bedroom recordings, sound collages and orphaned tunes recorded by Matthew Milia from 2010 to 2015. Milia, most known as leader of folkrock group Frontier Ruckus, is a deep well of clever poetics. The New York Daily News remarks that “Milia’s words obsess on the most suburban images possible,” and on the album’s opener, “Somerset Solo,” suburban memories are painted through a kaleidoscope of rapid rhyme e.g “corsage pinned on my collarbone flesh / teenage gowns of gauze and mesh” and reflections on aging: “we used to sneak into the Christmas gifts / now it’s all spotty sex and Netflix riffs.” Milia delivers his inventive lyrics over bonfire strums, and moon glow plucks, creating intimate atmosphere. The album’s close, an extended sound collage where elderly, salt-of-the-earth, waxings jumble over each other, moving in and out of the mix, is an intriguing end to the cathartic opus.

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Galtta

Anthony Vine – ‘Remnants’ CS $7.5
Composed and performed in New York during the balmy months of 2016, “Remnants” is a 65 minute collection from the mysterious inner wold 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.

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Pawlacz Perski

ADPC (Arszyn / Duda & Paper Cuts) – ‘There is no conclusion’
Once again Krzysztof “Arszyn” Topolski and Tomasz Duda are guests at Pawlacz Perski premises. This time they are accompanied by Wojtek Kurek and Łukasz Kacperczyk, who previously – as Paper Cuts – released two cassettes in a befriended label called Wounded Knife. ‘There is no conclusion’ is a meeting of two duets improvising with each other on a daily basis, which results in multiplication of different levels of communication. For a demanding listener, it might be one of the great pathways to perceiving this material. Yet the content of the cassette is not only a series of abstract meetings. Thanks to the richness of sonoristic details the music on this album stimulates our imagination, and moreover its warm sound perfectly sticks to the tape record.

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Inner Islands

Crown of Eternity – ‘Dream Architecture’ C51
The dream of duality, the seasonal shifts, and the planet revealed to the sun and the farther reaches each day. Warmth and glow give way to a reflective dim, but to return again. These frequencies and vibrations are tuned to something more comprehensive and express a vaster array of physicality. Thunderclouds and trickling rain drops resound from the struck metal. There are caverns and skies that swell into being, if only for a moment, before fading into the next vista, the next radiant pulse. Experience shimmering harmonics and meditative tones as Crown of Eternity gently invite you to immerse yourself in your most subtle listening space. ‘Dream Architecture’ contains the deep and complex harmonics of 11 gongs, as well as the sonorous tones of more than 60 bells, sound plates, sound triangles, tuned metals and singing bowls. Crown of Eternity carefully and patiently blend and orchestrate their instruments to create harmonic fields that invite the listener to dive in and not only explore the nature of the sound current, but also their inner landscape.

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