|
|
|
|
|
|
|
|
|
|
|
LP
|
|
WWSLP 077LP
|
Wewantsounds announce the vinyl reissue of Ramuntcho Matta's rare first self-titled album from 1985, mixing funk, no wave, and ambient soundscapes. The album released on tiny French label Mosquito was conceived as the soundtrack for French choreographer Régine Chopinot's play VIA with costumes by fashion rising star Jean-Paul Gaultier. It was recorded at a buoyant time in Paris when Matta -- who had just spent a few years in New York following the death of his brother Gordon Matta-Clark -- immersed himself in Paris's underground scene. Ramuntcho Matta, one of France's most interesting producers, collaborated with a wide array of luminaries such as Don Cherry, Brion Gysin, and Laurie Anderson. Coming from an illustrious artistic family -- his father was painter Roberto Matta, one of the giants of 20th Century art, his brother Gordon Matta Clark a cult figure of the '70s New York avant-garde scene and his uncle Serge Matta a renowned fashion illustrator who was a mentor to Jean Paul Goude. Having spent his teenage years in Paris assisting the legendary beat writer Brion Gysin, Matta left for New York in 1978 upon the death of Gordon Matta Clark to sort things out. Planning to stay for a couple of weeks, he stayed two years working in Laurie Anderson's studio and immersing himself in the cultural and musical hurricane that was late '70s NYC downtown scene. The album is a superb mix of d-i-y no wave soundscapes recorded mainly at Matta's home and avant funk tracks recorded at Studio d'Auteuil in Paris. The latter include Fred Cousseau on drums, Elli Medeiros on vocals, Urugayian percussionist Negrito Trasante and Polo Lombardo on Konks with Matta producing and playing a wide array of instruments. Highlights of the album include "Sassam Kitaki" featuring Elli on vocals, "Jeunes Et Vieilles" which sounds like Money Mark's "Mark's Keyboard Repair" only ten years before and "Une A Une" whose version here is an unissued instrumental that makes its vinyl debut. The music is a perfect match for Chopinot's innovative choreography which made her an essential part of France's 80s new wave of artists. The album was released in 1985 in France only by Mosquito Records and was never really promoted. The original release had several mistakes, misspelling musician names and knocking off one track title from the tracklist. The reissue here is in partnership with Ramuntcho Matta. Remastered audio. Includes four-page booklet featuring Jacques Denis's interview with Ramuntcho Matta (English/French) and an additional insert with a facsimile of Marc Caro's original artwork for the VIA show.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
AKU 1014CD
|
The poet, producer, and visual artist Ramuntcho Matta comes back to music with 96. 96 -- as in 96 hours were needed to record this new album. Ramuntcho points out that behind this dazzling recording, years of experience enabled him to achieve the mix of spontaneity and intimacy of the album. He was the man behind the success of Elli Medeiros's "Toi Mon Toit" (1986). As a matter of fact, Ramuntcho Matta likes to put artists in the spotlight, as he has done with Brion Gysin, Don Cherry, and many others. However, this time he decided to put himself in the spotlight with a record that sounds very '90s -- with a wink to Bill Laswell for the bass -- but still very contemporary. The album unveils a dark atmosphere, as if Alain Bashung had lost himself in a Lynch film. Record sleeve designed by Ramuntcho Matta. Unpublished notes and drawings from the artist's logbook Desseins Du Jour. CD version comes in a digipack; includes 12-page booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
AKU 1014LP
|
LP version. Gatefold sleeve; includes download code. The poet, producer, and visual artist Ramuntcho Matta comes back to music with 96. 96 -- as in 96 hours were needed to record this new album. Ramuntcho points out that behind this dazzling recording, years of experience enabled him to achieve the mix of spontaneity and intimacy of the album. He was the man behind the success of Elli Medeiros's "Toi Mon Toit" (1986). As a matter of fact, Ramuntcho Matta likes to put artists in the spotlight, as he has done with Brion Gysin, Don Cherry, and many others. However, this time he decided to put himself in the spotlight with a record that sounds very '90s -- with a wink to Bill Laswell for the bass -- but still very contemporary. The album unveils a dark atmosphere, as if Alain Bashung had lost himself in a Lynch film. Record sleeve designed by Ramuntcho Matta. Unpublished notes and drawings from the artist's logbook Desseins Du Jour.
|