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viewing 1 To 13 of 13 items
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LP+12"
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EMEGO 292LP
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Coventry's most notorious export celebrates 50 years of existence with an expansive new set on Editions Mego. Spread across two x vinyls (LP and 12"). Please note the 12" tracks are exclusive and do not appear on the digital release. Having spent decades carving out his very particular niche which takes influence from a vast range of extreme music this is Russell's nostalgic nod to his influences whilst forging onwards with his perpetually unforeseen experience. Working in a variety of media over decades Russell Haswell's belligerence towards his craft and critique of others has allowed him to operate in a zone outside of peers. As daunting as it is refreshing Haswell's output is always on the very edge of genre. 2001 saw the release of his first audio documentation with Live Salvage 1997→2000 (MEGO 012CD), a compact disc that compiled a series of ferocious live performances. Paradoxically precise and reckless, Haswell's music has an uneasy relationship with the predictable but acknowledges being birthed from a variety of 20th Century radical forms such as metal, noise, electro-acoustic, power electronics, and techno. Haswell's ongoing output resides as a continuously in-flux, inquisitive and predominantly improvised exploration of the extreme limits of machine-based art. Haswell has never been a "studio artist" or "producer". 12" channels the original role of the medium with two tracks of beats that present themselves in unpredictable ways. 12" also features the head shattering bonus cut, "Always Check Their Instagram". LP cut at 33rpm allows explorations into broader territories with deep ambience running into twisted acid and splattered shapes bouncing amongst rapid fire rhythms. This set is both a celebration of new forms whilst making many a sly nod to nostalgic influence throughout. LP+12" is an unexpected experience from one of contemporary music's most ruthlessly exhilarating and uncompromising figures. Raise a glass and listen LOUD. NOTE: The tracks on 12" are exclusive to the format not available on any digital format. Recorded December 2019-February 2020. Mastered: March 2020. Used = ADDAC Systems, ALM/Busy Circuits, Cwejman, Epoc Modular, Expert Sleepers, FANCYYYYY Synthesis, flight of harmony, Make Noise, Tiptop Audio...
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LP
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DIAG 055LP
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N0!zy blighter Russell Haswell returns to Diagonal five years after his label debut with a spontaneously combusting follow-up to 37 Minute Workout (2014) generated again from a mix of analog/digital synths and modular systems edited on a computer. It was inspired by a visit to CERN, The European Organisation for Nuclear Research, in Geneva; and dinner with Ted Nelson, whose theories of intersingularity and transclusion chimed with the direction recordings took. There are few artists who can genuinely make music that sounds like your needle and/or record is melting, but Russell Haswell is one of them. His second volume of extremely kinky calisthenics is a potent example of daring to be different in a world where exponentially increasing production options are leading producers of all stripes to the exact same conclusions. But, with thanks to Russell's iconoclastic intent, restless nature and ascetic aesthetics, he still sounds quite like nobody else, and, even better yet, doesn't give a shit if you like it or not. Since reincorporating his early love of freestyle electro and Industrial dance music into his patented n0!ze matrices circa the first volume of 37 Minute Workout, Russell has steered that rhythm-driven style into a string of fizzy bangers for Diagonal and even applied it to his production for Consumer Electronics with typically radical results. Russell's 37 Minute Workout Vol. 2 is cut from similarly (but never the same) ragged material as the first batch, and spits, kicks and claws with equal amounts of seething, pent energy and rambunctiousness ready to jab the 'floor in the eye or dissolve a party where needed. Crowbarring cues ranging from the Latin Rascals to Incapacitants and Jeff Mills into seven wickedly awkward designs, Haswell keeps his avant aerobics radically irregular as he hops from the tendon-twitching angularity of "The Wild Horses Of The Revolution Have Arrived Without Knight" to steel-hoofed clatter in "Central Crisis Management Cell" and the lacquer-eating dynamics of "Painful Memories From The Past Need To Be Acknowledged", before toning a proper nasty acid special in the UR inversion "Dancing On The Head Of An Eagle", and seemingly sucking your brain out through a straw with "Starting Something You're Not Able To Finish", with the dry witted, skeletal jazz-funk squirm of "Diplomatic Cocktail Circuit" closing the party down in style. Artwork by Guy Featherstone. Mastered and cut at Dubplates & Mastering, Berlin. Edition of 300.
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LP
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DIAG 043LP
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Russell Haswell returns to Diagonal with a new five-track mini-album called Respondent. Not quite an EP nor long enough for a full album, this record marks a significant shift in direction for Haswell, who collaborates with a vocalist, Sue Tompkins, for the first time in a career defined by its unorthodoxy, Haswell says Respondent is influenced by these formative years when he was exposed to new sounds and ideas but lacked the ability and equipment needed to express himself. "In a way I'm regressing, but I'm not trying to regress with the music," he says. "What I'm trying to do is think about how I felt and the energy and what this stuff communicated to me." Respondent's juiciest cut is "Special Long Version (Demo)" featuring Sue Tompkins. One second shy of ten minutes, this is Haswell's definition of house music. Taking cues from vintage Chicago tracks such as "Your Love" by Frankie Knuckles, Muff Man's "Sit On the Face", and Maurice Joshua's "I Gotta Big Dick", Haswell forces their essence through his filters, distilling the sexual energy to a crude groove, while Tompkins, a Glasgow-based artist formerly of the band Life Without Buildings, talks, shouts and sings, her voice distorted and dulcet. "I want your love," she says at one point. "Let Suffering Become You" is a mangled acid stomp that starts with a sample from the 1980 punk documentary D.O.A.: A Rite of Passage (1980), with Guinness heir Jonathan Guinness haughtily observing: "An awful lot of people who enjoy punk would really like to be back in those days when they could actually see physical people hacking each other to death." Elsewhere, "First In Man" is a cavernous dub-speckled track, with spasmodic lasers, dedicated to Diagonal co-founder Jaimie Williams. Haswell has chosen to release this material as a mini-album because he considers it an "underused format", citing as a classic example New Order's merger of their two early singles "Everything's Gone Green" and "Temptation" on to one five-track 12-inch, titled 1981-1982 (1982), for the US market. He views this release as a stepping stone to his next project, an album featuring a number of guests. So don't rule out that Kylie collaboration just yet. RIYL: Fad Gadget, John Bender, Smersh, LCD Soundsystem. Artwork by Guy Featherstone. Mastered and cut by Matt Colton. Clear vinyl; Edition of 500.
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2LP
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DIAG 024LP
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Double LP version. As Sure as Night Follows Day is Russell Haswell's landmark second album for the London-based Diagonal label. Consolidating a quarter-century at the forefront of extreme computer music, techno, and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date, zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor. The album was extracted over a fast-working period in late 2014, and is best perceived as a sort of fractured regression to his formative influences; one can hear the picnoleptic recollections of grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse, the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of Mills and Hood in that early-'90s phase. Fortunately for the ravers, this album includes some of Haswell's most direct dancefloor attacks to date. "HARDWAX FLASHBACK," for instance, finds him in pure tekno panik mode -- a four-to-the-floor wrecking-ball groove that someone, somewhere, may even be able to mix. "GAS ATTACK" distils his penchant for all things Belgium into a vicious strain of new beat lactic acid. Haswell then doffs his cap to Detroit electro legends Drexciya on "Underwater Electronic Struggle" -- a story goes that he once thrashed a jet-ski all over the Mediterranean while listening to 'Wavejumper" in his 'phones -- before he does the salty freestyle electro flex ting on "Extended Industry Knowledge (for OSCAR)" while reminding his trusty apprentice Powell that he still has a lot to learn. Between these 'floor-flexers, one finds more freakish disturbances and intrusive drum-box improvisations: the modular mind-floss of "RAVE SPLURGE NOISE FM" or "Noise Rave," for instance, or the self-explanatory "Improvisation #1." "In the Air Today" investigates warehouse-ready electroacoustic percussion, while the chaotic clusters of "INTERLUDE" swarm and invade the senses with psychoacoustic incision. This is Diagonal and Russell at their most fucked up and fizzy, and an important reminder of the artist's stream-of-consciousness genius -- and the pressing need for more chaos and unpredictability in electronic music today. Mastered and cut by Matt "The Alchemist" Colton at Alchemy. Soft-touch laminate sleeve design by Guy Featherstone.
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CD
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DIAG 024CD
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As Sure as Night Follows Day is Russell Haswell's landmark second album for the London-based Diagonal label. Consolidating a quarter-century at the forefront of extreme computer music, techno, and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date, zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor. The album was extracted over a fast-working period in late 2014, and is best perceived as a sort of fractured regression to his formative influences; one can hear the picnoleptic recollections of grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse, the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of Mills and Hood in that early-'90s phase. Fortunately for the ravers, this album includes some of Haswell's most direct dancefloor attacks to date. "HARDWAX FLASHBACK," for instance, finds him in pure tekno panik mode -- a four-to-the-floor wrecking-ball groove that someone, somewhere, may even be able to mix. "GAS ATTACK" distils his penchant for all things Belgium into a vicious strain of new beat lactic acid. Haswell then doffs his cap to Detroit electro legends Drexciya on "Underwater Electronic Struggle" -- a story goes that he once thrashed a jet-ski all over the Mediterranean while listening to 'Wavejumper" in his 'phones -- before he does the salty freestyle electro flex ting on "Extended Industry Knowledge (for OSCAR)" while reminding his trusty apprentice Powell that he still has a lot to learn. Between these 'floor-flexers, one finds more freakish disturbances and intrusive drum-box improvisations: the modular mind-floss of "RAVE SPLURGE NOISE FM" or "Noise Rave," for instance, or the self-explanatory "Improvisation #1." "In the Air Today" investigates warehouse-ready electroacoustic percussion, while the chaotic clusters of "INTERLUDE" swarm and invade the senses with psychoacoustic incision. This is Diagonal and Russell at their most fucked up and fizzy, and an important reminder of the artist's stream-of-consciousness genius -- and the pressing need for more chaos and unpredictability in electronic music today. Mastered and cut by Matt "The Alchemist" Colton at Alchemy. Soft-touch laminate sleeve design by Guy Featherstone.
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12"
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EMEGO 213EP
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Single-sided 12" with rubber stamp. Edition of 300. Recorded at EMS Elektronmusikstudion on March 19, 2015. Created with ALM, Tiptop Audio, Serge.
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12"
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DIAG 013EP
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Russell Haswell strikes bone on this 2-track, 20-minute 12", marking his return to the catalytic Diagonal imprint. Double A renders Russell at his slyest and most honest, presenting spasmodic, un-edited improvisations belying influence from the pivotal epoch of diamond-cut '80s freestyle, industrial and Detroit techno. Depending on your perspective, they're either splintered, techy DJ tools or skeletal nO!se inversions. Either way, they bristle and spark with a compulsive nervous energy and disciplined impulse control that's Haswell to the core: challenging, uncompromising and bloody crucial.
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LP
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EMEGO 157LP
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It has been a busy last few years for UK experimental multidisclipinary artist Russell Haswell, with releases popping up in all sorts of places such as iDEAL, No Fun, Warp, Warners, and more recently, Downwards. Returning to his spiritual home, FACTUAL is Haswell's fifth release for Editions Mego since 2009. Following on from 2011's ACID nO!se Synthesis (EMEGO 134CD) (a real-time exploration of phase scope image generation: Oscillographics), this new set of tracks takes his use of real-time, one-take, analog/digital modular synthesis to new levels and extremes. As with most of Haswell's work, it is what it says on the box, so "BLACK METAL INSTRUMENTAL INTRO DEMO," is exactly that. Or at least should be. A one-man-band flashback, recalling his personal exposure and experiences at early black metal concerts in UK and Europe. "URBAN nO!se" and "RECORD SHOP DAY" are fine sand-blasts of style-smashing experimental noise we have come to expect and love from Haswell, whereas "KILLER SNAKEHEAD" and "RAVE NIHILATION" are further investigations into the extremities of techno and its logical interplay with Japanese noise. In addition, complex waveforms, chaos oscillators and man-eating fish, are all dealt with. Finally, to end the album, "SHEFFIELD" is a short salvaged live session recorded by Peter Rehberg at Channing Hall (a haven of religious liberalism and tolerance), Sheffield, March 24th 2012. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, August 2012.
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CD
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EMEGO 134CD
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"Pure audio-visual abstraction" or "true synesthesia?" For his new studio album, UK experimental artist Russell Haswell tackles the complex world of analog modular synthesis, alongside his regular live kit of electronics and pedals, or computer. At the same time as recording, the artist also monitored his material visually with an X-Y oscilloscope, revealing the movement of the stereo signal and phase correlation (try it for yourself). However, this is no hipster noodling, but a whole album crammed full of tracks that explode hard. Brutal acid lines fight for room against insane noisescapes and face-melting electronics, severe dynamics, brain-floss, collision-edits, oscillographic pervery, as well as a smattering of genuine, dark, metallic oddness and grimey immersive voids! ACID nO!se Synthesis could be your most fulfilling multi-sensory experience from a piece of plastic this year. Comes with a 16-page booklet with text and 15 vector oscillograms. Improvisation on either modular synthesizer, computer or electronics and pedals. Recorded and simultaneously monitored on stereo/phase scope (visual) and speakers or headphones (auditory). Performed, recorded (direct to HD - 2 channel - no overdub, no midi), edited, compiled and mastered by Russell Haswell in Suffolk, 2010-2011. For a multi-sensory experience (seeing sound, in this case, Lissajous patterns), connect a stereo/phase scope (Oscilloscope X-Y view or software equivalent) to your audio player: www.fluxhome.com/products/freewares/stereotool, www.audiofile-engineering.com/spectre. Recommended reading: Oscilloscope at work. Alfred Haas, Ralph Watson Hallows (Wireless World/Iliffe & Sons Ltd. 1956); Audio Metering. Eddy Bøgh Brixen (Focal Press. 2011).
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LP/DVD
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EMEGO 115LP
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A 5.1 Surround DVD (Dolby Digital + DTS, "audio only") + Ambisonic UHJ vinyl LP (an LP that can play surround when playing through an ambisonic encoder. It can also be played on a regular stereo). Following an invitation from Autechre to support them on their 2010 European "Overstepper" tour (30 concerts, 15 countries), UK experimental multidisciplinary artist Russell Haswell filled a Pelicase with a contact mic, crystal mic, electronics w/light sensors, fx pedals, SOS whistle, various multi-color headlamps w/flashing modes, and boarded the tour bus. Each night, while performing his solo free improvisation, Haswell also recorded as many gigs as possible with a surround recorder. Selections from these live recordings are presented in Surround on this unique package containing a UHJ LP and 5.1 DVD, housed in a 12" sleeve. UHJ vinyl LP cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2011.
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CD
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EMEGO 099CD
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The UK's multidisciplinary artist Russell Haswell returns with a complete departure from his real-time computer-generated improvisations Live Salvage 1997-2000 (MEGO 012CD, 2001) and Second Live Salvage, (EMEGO 013LP, 2008). Wild Tracks is a collection of "deliberate recordings" made with other multimedia/film projects in mind. These recordings do not contain any overdubs or compression, and document a wide variety of audio experiences. Taking you to a blowhole in Jamaica, inside an ant colony, to the entrance of a wasp nest in Suffolk, on a helicopter ride in St. Lucia, and two waterfalls in County Durham, and also including the sound of freshly-fallen snow, flies being electrocuted and contributions from various military tactical airlift planes, air defense fighters and attack helicopters. The recordings on Wild Tracks were realized using a variety of techniques, including using hydrophones to record falling snow, recording gamekeepers many fields away with a parabolic dish, as well as using binaural, "near-field" and "direct" recording devices. Editions Mego understands this to be the first commercially-released audio CD to be packaged in a KIDZBOX, containing a full-color A2 poster with photographs and detailed recording notes. Unlike any other release this season. WARNING: extreme dynamic levels. Listeners' experience may change during playback!
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2LP
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EMEGO 013LP
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This is the long-awaited follow-up to the award-winning Live Salvage 1997-2000 CD (MEGO 012CD, 2000). Hot on the heels of recent collaborative releases with Florian Hecker (as Haswell & Hecker) on Warner Classics, Warp Records and Editions Mego, Coventry, UK's Russell Haswell presents the second volume of his Live Salvage archive series. This series documents improvised real-time, computer-generated audio presentations given over the past 10 years in different types of venues, all with contrasting acoustics and audiences. Editions Mego is proud to announce this double vinyl LP set. As NME asserted of this series, "now you can experience the terror in your own home." The brilliant cover art is based on Keith Jarrett's The Köln Concert (front) and Swans' Public Castration Is A Good Idea (back).
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CD
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MEGO 012CD
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Reissue of this 2001 release. "Solo debut (discounting, rightly so, the 'Adaptable Man' flexidisc) from OR Records' CEO, after a Merzbow collaboration (Akita/Azuma/Haswell/Sakabira, Ich Schnitt Mich In Den Finger, MEGO 022) and several compilation appearances (remix of Thurston Moore on Lo's Root, remix of Merzbow on the Blast First Scumtron CD). Merzbow comparison(s) aren't that far off really (Pita, on the other hand, can sound JUST like Merzbow). A collection of field recordings, live performances (yalping and all), processed and gutted, presented as a touring catalogue of sorts. Quite rowdy." -- Hrvatski.
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viewing 1 To 13 of 13 items
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