Animal Psi

Maina – ‘The deaf will not serve in heavy artillery’
The deaf will not serve in heavy artillery is the Maina´s third album , pseudonym of Spanish artist Isaac Cordal. The tracks were forgotten in a folder called Audio and were recorded between 2008 and 2009 when he was bored in London. The deaf Will not serve in heavy artillery´s track was mixed by . Everything else was done by Isaac Cordal in his little room in Forest Road.

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Eddie Woods – ‘The Faerie Princess & Other Poems’ C50
Eddie Woods (aka ‘the Gangster Poet’) was born and raised in New York City. In 1960 he joined the US Air Force for a four-year stint in order to see Europe and experience an earthier way of life than was possible in America. Throughout the 1960s and 70s he lived and traveled in various parts of the world, East and West. Since 1978 he has resided mainly in Amsterdam. That same year, together with Jane Harvey, he started the literary magazine Ins & Outs and later founded Ins & Outs Press. Among the many writers and artists they published were Allen Ginsberg, William Levy, Ira Cohen, Rachel Pollack, Jack Micheline, Diana Blok & Marlo Broekmans, Mel Clay, Jan Kerouac, Harold Norse, Heathcote Williams, Hans Plomp and Simon Vinkenoog. Inspired by both Tolkien’s The Lord of the Rings and the Shakti power of the Hindu goddess Maha Kali, in 1977 (in London) Eddie wrote “The Faerie Princess,” an erotic fairy tale in verse depicting the fantastical adventures of a lovely wood nymph in a future primeval setting. By contrast, his “The Second Coming of Kali” is a quasi-surrealistic sexual autobiography until age 37. Begun in Kathmandu in early 1976, worked on in San Francisco later that year, it was completed in London in 1977. Wholly dedicated to Divine Mother, it also portrays an intense spiritual journey and awakening. This is its first-ever public recitation. The other 11 poems are equally sensual. Edition of 100 copies.

Há-Zá-Má – ‘Under The Radioactive Fallout’ C54
Japanese Deadheads who have been tripping since the late eighties. Back in the day Michio Kurihara used to jam with these guys, but in recent years the band has been orbiting around the mellow guitarsolos of Yukotopia’s Roku. Outraged by the Fukushima accident in march this year, this tape is a collection of protest songs against nuclear energy. 100 copies.

Kohn – ‘Stay Away From The Towers’ C84
Two long synth hallucinations by Jurgen De Blonde, Belgium’s premier Cosmic Courier. Projecting Klaus Schulze and Jean-Michel Jarre through multi-dimensional molecular clouds and spiraling black holes, these broadcasts from beyond turn the brain on to deep space circuits. 100 copies.

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HEATSICK – ‘Intersex’ (PAN 19)  
Intersex is the debut LP by Steven Warwick a.k.a Heatsick. The title references the work of German sexologist Magnus Hirschfeld looking at how music and sexuality can operate in flux on a constantly sliding scale. Executed on just a Casio keyboard and manipulated loops via guitar pedals, Intersex deliberately evokes “ersatz” notions of electronic dance music and early electronics in the line of Roberto Cacciapaglia’s Ann Steel record , the work of Warner Jepson and the kaleidoscopic sound of Ron Hardy, pushing dance/body music through a saturated psychedelic lens.  Steven Warwick is a Berlin based performer, also known for his work in the electronic duo, Birds of Delay. His approach is one of carefully thought out loops which are then sent into varying interactions and play. Active in the club, art and music scenes, Warwick’s work is one existing in a liminal space, meditating both at once in real time and the “just past”.  The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Steven Warwick, Kathryn Politis & Bill Kouligas.

ANDRE VIDA – ‘Brud: Volumes I-III’ (PAN 20)  
Brud is a three volume compilation of recordings from 1995 to 2011 by Andre Vida, morphing seamlessly between a sense of total irreverence and the sublime. His spontaneous compositions and notated works are the angled mirrored counterparts of a transient saxophone driven performance language, drawing on elements of 1970s performance art, new music, improvisation cult, folk and pop hybrids, channeling them into asymmetrical tunes of feral beauty.   BRUD traces the development of Vida’s wayward language through 16 years of copious ruminations. The three delightfully polymorphic perverse discs unite sparkling solo sax, pieces for cello and woodwind sextet, synth / concrete electronic music, nocturnal improvisations, rare 90’s New York free jazz compositions, and the Kreuzberg suite — a distilled culmination of a hundred nights of Berlin mayhem into ecstatic swinging lyricism. Both solo works and as well as various collaborations with Anthony Braxton, Rashad Becker, Axel Dörner, Matt “MV” Valentine, Tim Barnes, Helen Rush, Olaf Rupp, Clare Cooper, Clayton Thomas, Brandon Evans, Elisabeth King, Steve Heather and many more.   Andre Vida is a Hungarian American saxophonist, composer and lyricist living in Berlin. More downtown cheeky grin than mere caveman smile, he is cosmically notorious for continuing the Rahsaan Roland Kirk one man horn section legacy with hydra headed style. He has been at the forefront of several major developments in experimental music, being mainly in Anthony Braxton’s original Ghost Trance Ensemble, as founding member of New York collective the CTIA, subsequent ‘freak folk’ groups such as The Tower Recordings, and his extensive collaborations with electronic music visionaries Jamie Lidell, Tim Exile and Kevin Blechdom, Elton John, Gonzales, Cecil Taylor, Ornette Coleman to name but a few, sewing up some heavy threads in downtown sax patchwork refracted through a Borgesian lens.   The 3xCD is a limited edition of 1000 copies, and is packaged in a pro-press digisleeve jacket which itself is housed in a one-tone silk screened pvc sleeve with artwork by Andre Vida and Bill Kouligas.  

ELI KESZLER – ‘Cold Pin’ (PAN 21)  
Over two years in the making, Cold Pin is the new full length record by Eli Keszler. Both a composition and stand alone installation, 14 strings ranging in length from 25 to 3 feet are strung across a 15 x 40 curved wall, with motors attacking the strings, connected by micro-controllers, pick-ups and rca cables. Recorded in Boston’s historic Cyclorama, a massive dome built to house the Cyclorama of the Battle of Gettysburg painting in 1884. The b side features in addition, a ‘dry’ version of the installation with motor attacks on metal squares rather then strings, creating dense percussive clusters. Cold Pin works within the frame work of left to right time and vertical structure. The installation acts as the architecture of the music, surrounding and immersing the live instruments into incredible density and sharp angular mass shapes, and functions alone as the performers stops. Rather then an individual sound the sustained horns, strings, drums and metallic attacks function as a singular unit, and continue too when they stop alongside the installation. Cold Pin features Eli Keszler (drums, crotales installation and guitar), Geoff Mullen (guitar), Ashley Paul (clarinet, guitar, greenbox) Greg Kelley (trumpet), Reuben Son (bassoon) and Benjamin Nelson (cello).   Eli Keszler is a composer, artist and multi-instrumentalist based in New York City. In performance, he often plays drums, bowed crotales and guitar in conjunction with his installations. In his ensemble compositions, he uses extended strings, motors, crotales, horns and mechanical devices to create his sound, balancing intense harmonic formations with acoustic sustain, fast jarring rhythm, mechanical propulsion, dense textures and detailed visual presentations. Eli has toured extensively throughout Europe and the US, performing solo and in collaboration with artists such as Phill Niblock, Aki Onda, Joe Mcphee, Loren Connors, Jandek, Roscoe Mitchell, Anthony Coleman, Joe Morris, Steve Beresford, C Spencer Yeh, Greg Kelley (Nmperign), T Model Ford, Ran Blake, Ashley Paul and Steve Pyne. He has recorded solo releases for labels such as hiw own REL Records, ESP-DISK’ and Type (Red Horse). His installations have appeared at the Boston Center for the Arts and Nuit Blanche NYC and the Shreveport MSPC New Music Festival. He has most recently won the Mata composers competition for the 2012 season. Eli Keszler is a graduate of the New England Conservatory in Boston where he studied with Anthony Coleman and Ran Blake.   The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.  

JOHN WIESE – ‘Seven of Wands’ (PAN 22)  
As a composer, John Wiese is an elusive one. Employing a very healthy range of conceptual framework throughout his oevure, he’s unmistakably recognizable, but rarely easy to predict. No matter what the sound, we find it always sounds like Wiese. Seven Of Wands contains a romanticism only hinted at previously. Comprised of pieces from a range of eras and sequenced into a narrative arc, this very unique album has a quality of being beautiful, listenable, immersive, and transportive all at once. He probably wouldn’t like this, but I dare say  “musical.”   Let’s look for a second at the development of Wiese’s solo albums to date: Magical Crystal Blah (2003), Soft Punk (2002–2005), Dramatic Accessories (2007), Circle Snare (2008), Zombie (2009), and now Seven Of Wands (2004–2010). With the exception of Zombie’s rigid conceptualism, what we can see is a development of a completely individual approach to cutting and stereo spectrum, with a constantly fluctuating degree of severity in choice of sounds. On this latest, we see this transposed to a longer-form, with more emphasis on beauty and musical qualities (well, don’t get me wrong), employing strategies and techniques of musique concrète and electroacoustic music throughout, all the while further emphasizing the mixing desk as a true instrument.   Two of the albums central pieces were developed while touring the US, UK and Europe with Liars, No Age, and (in quadraphonic) Matmos, and feature source material contributed by Angus Andrew (voice, field recording) and Julian Gross (percussion) of Liars. This is Wiese’s second release on PAN, following the vinyl edition of C-Section, his duo album with Evan Parker.   The CD is a limited edition of 1000 copies, and is packaged in a pro-press digisleeve jacket which itself is housed in a one-tone silk screened pvc sleeve with artwork by John Wiese and Bill Kouligas.

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Femminielli – ‘Sprezzatura’  C20 $7(USA)/$9(WORLD)
Edition of 100. Montreal’s backwards veil disguises it’s unique history in dance music and all things electronic.  Femminielli is years worth of artistic reference personifying this curious obsession with imported 80′s discothèque culture, cued perfectly into this years best anthems.  One of the co-conspirators behind the infinate experiemntal label Los Discos Enfantasmes and previous releases on Hobo Cult, Fixture and Digitalis, Bernardino Femminielli is fresh on deck for his most recent dance floor masterpiece, Sprezzatura.  Joining together italo-disco beats, ethereal krautrock influence synthesizer sequences, Mediterranean hustler mantras…all tied up in a sordid karaoke meltdown. Tough to explain, easy to digest…won’t you join us.

Jazkamer – ‘Failed State of Mind’  C30  $7(USA)/$9(WORLD)
Edition of 100.  Over the past decade, Norwegian improvisers Lasse Marhaug and John Hegre has combined their efforts within the mainframe of Jazkamer, each one’s participation equally jarring and affectionate to the designated listener. Stacks of releases have documented this infamous collaboration as it set course through noise, power electronics, improvised acoustics and free form sound, culling their strengths and weakness to make some of the most memorable experimental albums to date. This exclusive tape edit reworks the previous issue of the album Failed State Of Mind, which was released on CD with selective sequence on Marhaug’s own Pica Disk imprint in 2010. Re-sequenced and assembled by Lasse Marhaug into an unique analog interpretation of this modern classic.

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various – ‘Inner Ends of the Coils‘ 2xCDr
When the Inner Ends of the Coils compilation came out about 18 months ago, life was hectic for me, and I could only built half of the 100 copies at the time. I’ve just finished building the rest of the official copies. So the comp. is now back in print, with a modified artwork – all black!

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Scammers – ‘Airliner’ cassette
Hailing from Kansas City by way of New Orleans, Scammers is a husband/wife duo writing underground pop music. Rather than rejecting form and function for increasingly common ‘experimental’ vibes, Scammers act as a fairly ‘normal’ band committed to the American DIY touring subculture. Their second release of 2011, Airliner, is a collection of singles ranging in aesthetic from their overt Ian Curtis live personas to the broken romanticism of Scott Walker’s later years.  SAMPLE

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Songs of Green Pheasant – ‘Soft Wounds’ CD
Rusted Rail is proud to announce the release of “Soft Wounds” by Songs of Green Pheasant. Following a trinity of releases on FatCat records, “Soft Wounds” is Songs of Green Pheasants first release since 2007. The musical project of Sheffield-based Duncan Sumpner, Songs of Green Pheasant have now found a home for their homespun candle-lit narcoleptic folk at Rusted Rail. Written and recorded by Sumpner on 4-track and 8-track machines, the album’s dreamfolk-pop stylings are cloaked in a gentle fog of impressionistic instrumentation and cloudy harmonies. An ideal late night or rainy day listen, these hazey transmissions reveal a sonambulant songcraft which can proudly nestle comfortably next to drifting pioneers such as Hood, Talk Talk and Bark Psychosis. Wrap up warm for the winter with Songs of Green Pheasant. This CD is housed in a hand-assembled and hand-stamped recycled card sleeve featuring artwork by Duncan Sumpner.

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Taco Leg – ‘Printed Gold’ 7”
Three songs from TACO LEG, the strongest characters in the city of Perth, a seaside village in Western Australia which, any visitor can affirm, served as a model for The Village to which Number Six has been condemned. It’s a strange burg inhabited by a society just a little too askew for general population. The major markets of the United States were treated to a visit from Taco Leg in late 2010, and this is the first blast we’ve heard from the guys since that historic trip. “Printed Gold” is a buzzy single-noting headbanger and it shows all the confidence of a Ryan Howard home-run. In fact, in a tribute to his American fans of the diamond, the guitar player wore batting gloves for the recording session. A certain high-ranking Aussie musician and writer pointed out to the band that their approach has a lot in common with FANG. The guys not only took the trouble to figure out just who the hell is Fang, they even learned the band’s most memorable tune & put it to tape. The result? An interpretation of “The Money Will Roll Right In” that’s a few degrees drier, more inspired, & more determined than the original. Certainly, these guys stand a chance at the film career that proved elusive to Sammytown & that crowd. 330 copies.

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Ultra Bonbon – ‘Garbled Cassette Collection’ CDr
This is a collection of tracks from Ultra Bonbon’s 4 now long out of print Garbled Cassettes released between 2008-2009. This is some true north power electronics, as bleak and cold as the Laurentian Plateau. Cover art ( from the “HARSH NOISE for your WALL” series ) by Danny Milanese.

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