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LP
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ADC 004LP
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Mid last century: Commercial music is a machine that generates dances that run each other over in the urge to reach the audiences and mark their place in time and history. A never-ending list of choreographies co-habit: hully gully, madison, rock, limbo, twist, and a long etcetera, until a new dance, bossa nova takes over the dancefloors. Joao Gilberto, Tom Jobim, or Vinicius de Moraes reach stardom in Brazil with this mix of samba and jazz, but the genre doesn't explode internationally until a few American jazzmen decide to import it. From there it reaches Europe, via France, thanks to Sacha Distel, the first on the continent to record an EP completely dedicated to this phenomenon. It is 1962: Shortly after in Spain, the number of artists including original or adapted tracks in their albums, escalate: Tony Vilaplana, Mina, Duo Dinámico, Latin Combo, Los 4 Brujos, Gina Baró, Grau Carol, Salomé, or Marisol, who popularizes the new trend by recording Marisol rumbo a Río (1963), a blockbuster film partially filmed in Brazil. The maestro Augusto Algueró writes the film's soundtrack. For this compilation, Adarce Records have consciously dug into the archives of three Barcelona based labels like Belter, Discophon, and Olympo to serve Spanish-sung bossa nova songs that have never, inexplicably, been released on vinyl, all songs are recorded during those two (musically speaking) prodigious decades: the twentieth century's '60s and '70s. Features Paula, Salomé, Cocky Mazzetti, Elsa Baeza, La Nueva Generación, Bruno Lomas, Seison Show, Antonio González, Antonio Prieto, Los 3 Sudamericanos, Los Aguacates, Hermanas Benítez, Los Millonarios, and Richard Y Sus Bambucos.
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LP
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AP 009LP
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After a period of hibernation, Aperture awakens with a bang and a compelling program in the pipeline. Following their first album released on Aperture at the tail end of 2015 with No.3 Obliate (AP 008LP), the Italian duo T.e.s.o. present their second full-length album Costruzione 04. As the title suggests, the album centers around an underlying theme of construction, inspired by radical architecture, brutalism, and collages from Superstudio. The concept and title evolved from the nature of the album and the process of building up tracks from a number of separate samples, much like the singular elemental materials used to assemble a structure. Alongside their music production, the duo has previously created a multimedia installation that investigated the geometric studies of Le Corbusier in parallel to the musical production of Erik Saite and Matteo Castiglioni continues to create impressive audiovisual installations such as the recent "Freddo Flusso" and "neon(i)", as well as a collaboration with Danilo Randazzo. T.e.s.o. also continue to perform absorbing live sets of their own inimitable range of musical perspective and vision. Intense, visual, and structured, Costruzione 04 again showcases T.e.s.o.'s complex, obscure, and dominant beats and their oblique and sometimes challenging style.
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12"
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ARCS 006EP
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Rhyw is Alex Tsiridis, aka one half of Cassegrain. On this, his solo debut for Arcing Seas, his smoldering, alien techno sound manifesto continues to thrive over three unique tracks. The morphing, deconstructed acid of "Unpunishable" -- a molten statement of lusty intent -- strikes first in a heady, hazy pummeling of doom-funk. "Vertisol" pushes crisp and dry snaking percussion through an anechoic chamber; the bass end neatly warming at first then burning hard through your mid-section. An icy cold shot of "Aqua Velva" is the final offering -- a pushing sub-level trip through Rhyw's private domain.
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CD
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AUM 106CD
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"Seraphic Light was recorded live in the performance hall of Tufts University (Boston) in April 2017. These three masters each possess a complete & total devotion to the music. On this very rare trio meeting they manifest a meditative resonance, replete with lyrical exploration, throughout a sublime set. The concert was part of an event entitled 'Art, Race, and Politics in America.' First was a screening of the 1959 documentary film, The Cry of Jazz. The film asserts 'jazz is the Negro's cry of joy and suffering' and 'the Negro is [white America's] conscience...if they have a conscience.' These bold and timely ideas pushed forward the second portion of the program, a discussion / Q&A with Carter, Parker, and Shipp. For 45 free-flowing minutes, these three men spoke truths, told stories, floated ideas, countered assertions, listened to questions, gave advice, told jokes, and laughed together. Having already established an honest and direct bond with the audience, they then seamlessly shifted their discussion to the musical dialogue presented here. While William Parker and Matthew Shipp are each deservedly world-renowned as players-improvisers-composers due to their extensive recording and performance work as leaders, Daniel Carter remains an underground figure on the world stage; even relatively so within New York City where he has been ceaselessly active since the mid-70s. He is a masterful player of deep lyricism and passion; in possession of gorgeous tone across a full range of wind instruments. Seraphic Light showcases Carter on all of these instruments and in a characteristic style in which his melodies prod and ply, concurrently asserting and suggesting. As he has recently entered his 7th decade of non-stop creation, it is hoped that this recording -- in the company of well-esteemed peers -- will go some measure to increase recognition of the gifts he has long offered."
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BING 141CD
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"Nobody is more surprised about having created a full ANMLPLNET album than the group itself: Slothrust leader Leah Wellbaum and drummer / singer Mickey Vershbow. The two met while they were both immersed in the Boston music scene, and then went on to pursue separate musical careers on opposite coasts. Their debut album Fall Asleep truly displays their magnetic musical bond, even while withstanding physical distance and hectic schedules. The band was formed originally on a number of rules, including writing lyrics that are antonymic translations (meaning nouns, adjectives and verbs were replaced with their antonyms) and playing songs straight through as one giant piece, no breaks. The band seeks to create dream-like soundscapes, both epochal in scope and melodic. Their goal is to explore the space between songwriting and improvisation, and the result is an uncontrived melding of their personal styles and technical mastery of their instruments. Wellbaum and Vershbow basically plan, dig, then embark on a fresh road towards rock brilliance."
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LP
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BING 141LP
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LP version. "Nobody is more surprised about having created a full ANMLPLNET album than the group itself: Slothrust leader Leah Wellbaum and drummer / singer Mickey Vershbow. The two met while they were both immersed in the Boston music scene, and then went on to pursue separate musical careers on opposite coasts. Their debut album Fall Asleep truly displays their magnetic musical bond, even while withstanding physical distance and hectic schedules. The band was formed originally on a number of rules, including writing lyrics that are antonymic translations (meaning nouns, adjectives and verbs were replaced with their antonyms) and playing songs straight through as one giant piece, no breaks. The band seeks to create dream-like soundscapes, both epochal in scope and melodic. Their goal is to explore the space between songwriting and improvisation, and the result is an uncontrived melding of their personal styles and technical mastery of their instruments. Wellbaum and Vershbow basically plan, dig, then embark on a fresh road towards rock brilliance."
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LP
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BEC 5772852
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2018 repress; now on 180 gram vinyl. LP version of Forever Dolphin Love with bonus download code for the live version. Connan Mockasin has the kind of deliciously off-kilter and gloriously idiosyncratic worldview that rapidly proves addictive. Welcome, folks, to the delightful, slanted and enchanted world of Connan Mockasin. Like David Lynch's willfully surrealist take on American suburbia, or Richard Prince's paintings investigating modern cultural tropes, the New Zealand-born, current London resident Mockasin makes beautiful music which subverts as it compels, challenges as it mesmerizes, startles as it seduces, even drawing fans as diverse as Johnny Marr and Radiohead to Ed Banger chief and ex-Daft Punk manager Pedro Winter into its wide-eyed, childlike exploration into the final frontiers of pop music. It is all too rare, in this current climate of manufactured pop acts, grey, over-produced "alternative" guitar music and press-fuelled mania for the next-big-thing, to hear something truly striking and original, but a strong case can most certainly be made for Connan to be a true pop auteur, taking his rightful place in a proud lineage which includes past mavericks such as Joe Meek and Brian Wilson, right through to current cult heroes like Ariel Pink, Sufjan Stevens and John Maus. Written from start to finish one hot summer, while camped outside his parent's church-like house in a tent, Forever Dolphin Love is an LP which brims with the beauty and solitude of summer evenings, a miasma of psychedelic tangents, jazz interludes and echoing guitars which hum with a distant, haunting resonance. For apart from being one of the most singular musicians we currently have, he is also a brilliant and unusual painter, a gift which will be glimpsed for the first time with this album, which features a collection of wonderfully surreal paintings of dolphins, all bold and beautiful interpretations of the mammal, but evolved into human forms, smiling in gaggles, sometimes wearing clothes, sometimes swathed in pools of lush colors. Connan's talents also include recording, producing and mixing the entire record. It was this brilliantly ingenious approach to invention, and his masterfully unique charm that caught the attention of Erol Alkan, who signed Connan to his label Phantasy and released his first output Please Turn Me Into The Snat.
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CD
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BC 046X-CD
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"With the release of the group's all new full-length Haze Big Crown now takes you back to where The Shacks story started with the reissue of the group's self-titled EP which includes 'This Strange Effect' as featured in Apple's global iPhone 8 commercial! When you listen to the Shacks' self-titled debut EP, you might imagine that Shannon Wise and Max Shrager are much older than their respective 18 and 20 years. But when Shannon's whisper-vocals breeze through the speakers, you hear the youthfulness of their sound which then in turn explains the fearlessness of their songwriting. Both vaguely familiar and completely fresh, The Shacks are one of the most interesting NYC bands to surface in a minute. Since the release of their first single, 'Strange Boy,' which they recorded with El Michels Affair, The Shacks have been compared to 90's indie icons like Mazzy Star, Jesus and Mary Chain, and Broadcast. As good as those bands are, you wouldn't find a single one of their records in Max and Shannon's music collection. All these bands are drinking from the same well, just 20 years apart. Highlights from The Shacks EP include a cover of the Ray Davies-penned 'Strange Effect,' which Shannon sings as if it were written for her, giving the song an unnerving edge that's way more interesting than Dave Berry's tepid original. Also included on the EP is 'Orchids,' one of Leon Michels and Max Shrager's first co-productions, recorded at the legendary Diamond Mine studios. 'Orchids' is a truly original piece of music that showcases The Shacks' adventurousness in the studio. 'Left It With the Moon' is a lo-fi lullaby written by Shannon and recorded to 4 track cassette at Max's home studio in Princeton, NJ. And 'Hands In Your Pockets' features the Frightnrs rhythm section laying down a pitch-perfect rocksteady backing track behind Shannon's deadpan delivery a la Jane Birkin." Includes bonus tracks.
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2LP
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BE 004LP
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Black Editions present the first ever vinyl release of Ché-SHIZU's signature album A Journey, originally issued in 1994 by Tokyo's legendary P.S.F. Records. Ché-SHIZU is one of the most original and mystifying groups to ever emerge from the Tokyo underground. Founded by master improviser Chie Mukai in 1981 the group has been guided by her singular vision for nearly 40 years. Throughout its history Ché-SHIZU has challenged traditional notions of song structure and improvisation. Mukai's signature instrument, the Chinese er-hu, is an ancient two stringed bowed instrument rarely found outside of traditional music. Even within the wildly diverse roster of artists on P.S.F. Records, Ché-SHIZU is a playful and confounding outlier. Early on Mukai became active within the avant-garde movement flowering in Tokyo during the mid-1970s. She studied with renowned Fluxus composer and violinist Takehisa Kosugi, recalling, "that encounter was so huge for me, much more than any one technique. Even in terms of the er-hu, I only started playing it because Kosugi gave it to me." In 1975 she joined his East Bionic Symphonia, a large improvising ensemble featuring students from Tokyo's Bigakko art school. From there she contributed to improvising avant-garde groups including an early version of Marginal Consort and later the Vedda Music Workshop. Her work with Ché-SHIZU however is where her vision most clearly emerged. Ché-SHIZU released its first album I Can't Promise in 1984 on Zero Records, in time the album would become a revered classic. It would be another ten years before another full-length would be released. During that time the group performed extensively with various rotating line ups. In the summer of 1994, Mukai led the group to Studio J in Tokyo to record an album for the P.S.F. label. Released later that year, the album was titled A Journey. Fittingly, it is a sprawling excursion through ethereal dreamscapes, the group confident in its own resplendent joy. Over the album, the group creates a spontaneous, loose form of chamber pop that weaves folk and a light psychedelia into something entirely unique. Pop songs like "Juso Station" intersect with instrumentals such as the title track to create a varied yet coherent improvisational language. Remastered; deluxe double-LP edition cut at Dubplates & Mastering, Berlin and pressed at Pallas Germany. Includes new expansive artwork and lyric translations, housed in a spot gloss heavy gatefold jacket; Includes high resolution digital download.
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2LP
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BRD 025LP
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Tom Lax on Mamitri Yulith Empress Yonagunisan's Yulith Lilith: "The world of Mamitori is as beguiling as it is unchartered. Their, just previous to this, live album Mamitori Ulithi Empress Yonaguni San-25/12/20/13 (also on Bruit Direct Disques) fizzled the ears of pine-tops with its staggeringly great execution of outsider ramble gnashing with no wave rumble, creating a sound so unique, scribes stuttered on hiccups of comparison. Trying to 'get it right'. If copies still exist, plonk down some cabbage and see what I mean. So when the check writers at Bruit said they were issuing forth a 2LP of new material, all one could do was wait and wonder. It's the line in the sand many dare not cross. The double LP format, in its purest distillation, exists as the medium to convey realizations of the most sprawling and unconventional design. And by God, if Mamitri Yulith Empress Yonagunisan latest deuce, Yulith Lilith, doesn't ding all the right dongs, then ladies and gentlemen, I will cook your goose. The heart of their sound is beyond words, it's more chaos theory, transmuting inside the eye of a hurricane. Imagine 10,000 blackbirds, perched in the trees above Tompkins Square Park, their shrill natter suffocating the air, while below Arto Lindsay spanges in tap shoes, his voice wavering fugue-like over the birds, while the clicking of his gait keeps a rhythm out of sync-yet completely on point-with the overall scheme. Or if '70s era Faust had become outlaws, exiled themselves deep inside the Hokkaido landscape and for the rest of eternity tooled around Akkeshi Bay on speedboats, lustily consuming wild ales, sustaining themselves solely on plankton and oysters. Mamitri Yulith Empress Yonagunisan are Bushido code Circuit Rider and Yulith Lilith is an unimpeachable masterpiece extolling the marauding valor of a band incapable of succumbing to convention. Housed inside transparent screen-printed sleeves-resembling alien x-rays. It's like the future just opened up. And guess what? It's full of stars. One of my top picks of 2018 by a mile. Not to be missed." Double gatefold album; clear vinyl with a custom made transparent sleeve; two quadri stickers; plastic insert; all hand made in Japan.
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LP
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BB 058LP
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2018 repress; 140-gram LP. Cluster's self-titled debut was originally released by Philips in 1971; this edition is the first reissue to restore the track running order of the original Philips release. Includes liner notes by electronic avant-garde pioneer Asmus Tietchens. In 1998, The Wire listed Cluster's self-titled debut as one of "100 Records That Set The World On Fire (When No One Was Listening)." Very few albums from Germany can lay claim to this honor. Cluster is a monster; it contains a mere three untitled tracks and was quite an ordeal for untrained ears when it was released. Yet the album pointed the way forward like no other electronic opus. Cluster's previous incarnation was a trio called Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from the group's third member, Conrad Schnitzler, in 1970. The following year, in addition to playing live, they recorded their first album in publisher Ralf Arnie's Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until Plank's death in 1987. Early Cluster music was new. New in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duo's utter renunciation of conventional harmony and rhythm, embrace of near total aural abstraction, and confident use of noise, rigorous live electronic improvisation, and a positive mindset were all factors in Cluster's innovative trailblazing of 1971. For want of a better category, Cluster was classified rather inappropriately and incorrectly as "cosmic." Few recognized Cluster for what it was -- a synthesis of pop music, stripped of embarrassing glamor, and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster, with no beginning and no end. Cluster's music is free and open in all directions. There are sounds, noises, and structures to be heard on this album that would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future.
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12"
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CORR 065EP
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Maceo Plex locks down 2018 with a Fabric mix (FABRIC 195CD) and his new Mutant series that sets out to explore the more mutated side of his signature cosmic techno. Three tracks deep, each version of "Mutant", featuring Maars, tells the same story from a different perspective; "Mutant Disco" tells it from the bassline's point of view as a latent funk thumps with wry mischief, "Mutant DX" shows things from melodic side with its rolling bulbous bass lead while "Mutant Moog" closes the EP by surging you even deeper into the stars with a crisp sinewy arpeggio.
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CD
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CMR 003CD
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"God Is More Than Love Can Ever Be is something of a rarity in the Sun Ra catalog -- a cohesive album with none of the stylistic eclecticism and musical chair shifting many of the artist's self-released LPs were known for. Recorded at Variety Studios one day in 1979, the album's five tracks comprise a solid jazz trio set. God Is More Than Love... is the only complete piano-bass-drums studio session in the massive Sun Ra catalog. The album offers an intense set of cosmic vagabond moods, reflecting the telepathy that is the essence of small combo jazz. Other than an overdubbed second piano on 'Days Of Happiness' the five works were spontaneously generated and forever fixed: none of the titles recur in the encyclopedic Ra discography. Originally released on Saturn in several small press runs under the alternate title 'Days Of Happiness' between 1979 and 1981, fully realized artwork was never established and the album never got much circulation, thus it has remained a largely overlooked session in the Ra omniverse. Nearly 40 years later, the record is long overdue for acclaim on its second time around. Newly remastered edition on CD and LP (with tip-on style jackets/ RTI vinyl)"
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LP
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CMR 003LP
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LP version. "God Is More Than Love Can Ever Be is something of a rarity in the Sun Ra catalog -- a cohesive album with none of the stylistic eclecticism and musical chair shifting many of the artist's self-released LPs were known for. Recorded at Variety Studios one day in 1979, the album's five tracks comprise a solid jazz trio set. God Is More Than Love... is the only complete piano-bass-drums studio session in the massive Sun Ra catalog. The album offers an intense set of cosmic vagabond moods, reflecting the telepathy that is the essence of small combo jazz. Other than an overdubbed second piano on 'Days Of Happiness' the five works were spontaneously generated and forever fixed: none of the titles recur in the encyclopedic Ra discography. Originally released on Saturn in several small press runs under the alternate title 'Days Of Happiness' between 1979 and 1981, fully realized artwork was never established and the album never got much circulation, thus it has remained a largely overlooked session in the Ra omniverse. Nearly 40 years later, the record is long overdue for acclaim on its second time around. Newly remastered edition on CD and LP (with tip-on style jackets/ RTI vinyl)"
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12"
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CBX 008EP
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2018 repress; originally released in 2001. "Brilliant, pioneering Techno" --Hard Wax
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12"
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CBX 009EP
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2018 repress; originally released in 2003. All tracks written and produced by Surgeon and Regis. "['Learn Your Lesson' is] one of the most instantly recognisable BMB tunes, and arguably one of the least typical: Regis contributes spoken, reverb-submerged vocals (a tendency that he'd elaborate on in the duo's live shows), affecting a register somewhere between Whitehouse-ish, hate-filled tirade and downcast psycho at the busstop murmuring conspiratorially to himself, before a Basic Channel-esque breakdown lets in the closest thing to sunlight you'll ever encounter in the unwaveringly bleak world of BMB." --FACT, "The Essential... British Murder Boys"
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12"
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CBX 010EP
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2018 repress; originally released in 2003. "The two untitled tracks on Don't Give Way To Fear showcase what Surgeon and Regis do best: build breakbeats that complicate and intensify a techno track's 4/4 momentum, without weighing or slowing it down. Hell, they fit more energy and incident into a 4-bar phrase than your average minimal-monkey manages in a career. The bolshy, brutal rhythm and sandpapery coarseness of the sound design around it is matched with a deft sense of spatial arrangement and emphasis -- not since the days of Mark Stewart + The Maffia have barely suppressed violence and and a trippy, dubwise sensibility worked so naturally and effectively together." --FACT, "The Essential... British Murder Boys"
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12"
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CBX 012EP
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2018 repress; originally released in 2005. "Typical of BMB's malevolent programming genius: each percussion hit feels at once like it's a million miles away and inside your skull, the drum patterns at once spaced-out and throat-tighteningly claustrophobic. Looking back to the Latin swing Surgeon brought to classic solo productions like 'La Real', and looking forward to the swung minimalism that Regis would perfect on his contributions to the Sandwell District catalogue, 'All The Saints Have Been Hung' is the simplest, most confident and arguably most potent track in BMB history." --FACT, "The Essential... British Murder Boys"
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LP
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EDDA 047LP
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LP version. In life and music, Emma Tricca is an explorer. Just as Davey Graham set sail for Morocco and Vashti Bunyan for the Outer Hebrides in search of their elusive muse, Rome-raised singer-songwriter Tricca has journeyed to London, New York, Texas, and further afield to seek the heart of her own music. Tricca's new album St Peter -- created with a cast of supporting artists including global icon Judy Collins, Sonic Youth's Steve Shelley, and Dream Syndicate guitarist Jason Victor -- takes a bracing plunge into the unknown, leaving the folksinger tag far behind with a rolling collection of reverie-inducing raw diamonds. Tricca released her first melancholic masterpiece, 2009's crystalline long-player Minor White on Bird Records (BMS 024CD), an offshoot of Finders Keepers run by husband and wife team Jane Weaver and Andy Votel. Five years later Tricca released Relic (2014), an album even more poised and precise than its predecessor. A collaboration with longtime friend and guitar wizard Jason McNiff led to 2017's sparkling Southern Star EP (EDDA 043CD/LP), while a song on the soundtrack of Patrick Stewart-starring US indie film Match (2014) raised her profile. Recorded near-live at Echo Canyon West in Hoboken, St Peter draws on crunchy country rock, homespun psychedelia, Morricone soundtracks, New York underground grit, and English folk grandeur to weave a wholly unique and surprising spell. More musical guests soon joined the party -- gruff songwriting hero Howe Gelb put in a brief cameo, while Tricca was able to live out a childhood fantasy by inviting Judy Collins to appear on the album's penultimate cut, "Solomon Said". The album is so loaded with texture that is almost feels tangible; a rare record that feels precise and pristine in its executions but never sterile or lifeless. Electric guitars fizz away like a controlled electricity, Tricca's guitar playing flows gracefully at the core with her vocals existing in the perfect state between slight rasp and caramel-smoothness. Shelley's drumming and percussion gives a steady heartbeat to the record which is further brought to life by a variety of deft instrumentation, including piano, bass, cello, violin, glockenspiel, and of course the variety of guest backing vocalists. Whilst St Peter's deep-seated roots can perhaps be traced to traditional folk music, its finished existence feels far from such a thing -- its ever-flowing essence skipping through genres, tones, paces and rhythms with a gliding grace.
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12"
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DIAL 075EP
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Since the early aughts, Alan Abrahams, aka Portable, has been producing records for labels like Perlon, Live At Robert Johnson, K7, and Süd Electronic. With a new band project RANGEr, the South Africa born Alan Abrahams is an artist in-between genres. A Life Without Notifications is now here, marking his first release for Dial records.
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2LP
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DTR 004LP
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Double LP version. Includes download code. Surgeon's new full-length, Luminosity Device, takes Bardo Thödol -- the Tibetan Book of the Dead -- as a starting point for a rhythmic journey into those interstitial spaces where body, mind, and soul no longer seem like distinct categories. It has the potential to turn anything from a club visit to a train commute into a collision with the otherworldly. Since the 1990s, Anthony Child has been one of the most consistent and pivotal electronic music producers to use that craft as a tool for achieving transcendence. Under his aptly chosen DJing and production alias Surgeon, his technical precision and clarity of creative vision have resulted in a highly influential form of techno-mesmerism documented in exhaustive live sets and incisive studio recordings. His talent for wielding beats and sonic textures as healing technologies and as magical weapons simultaneously, and particularly for excelling in "long-form" treatments, has made him not only a key contributor to the legacies of touchstone labels Tresor and Downwards, but also a prized collaborator (his British Murder Boys duo with Regis has capitalized on both producers' natural intensity to devastating effect). The pure techno idiom has never been his sole method of exploring the vastness of inner space, or of illustrating the interaction of thought and memory with the external environment: the work published under his own name, e.g. the two-volume set Electronic Recordings From Maui Jungle (EMEGO 215CD/LP, EMEGO 230CD/LP), along with newer collaborations like the Transcendence Orchestra with Daniel Bean (EMEGO 246LP), have shown Child to have a masterful knowledge of the intimate qualities of drone and atmospheric sound: the sound-scaping talent utilized in these projects is capable of drawing out acute emotional reactions from a broad spectrum of listeners.
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LP
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ELP 013LP
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2018 repress. Abul Mogard presents his debut LP, a suite of four analog synth pieces. Mogard was born in Belgrade, Serbia, and spent most of his life working in a metal factory, only beginning to approach music after his retirement. Following two highly regarded cassette releases on Steve Moore and Anthony Paterra's VCO label and a series of compilations and split releases, Mogard makes a surprising departure on this debut album for Ecstatic Recordings. Circular Forms channels a wealth of soulful modular explorations and shadowy white-noise clouds. The end result is evocative, unsettling, and beguiling modern synth music. There's a real emotive essence to his almost lyrical arrangements that is very much removed from the contemporary modular revival. Composed and recorded in solitude using a limited equipment array of Farfisa organs in conjunction with a self-built modular synthesizer, the album's intoxicating distortions and extreme low frequencies translate into personal space and beautifully restrained impressions. Abul Mogard: "Lately I have been reading and appreciating visual art and paintings and this has informed my work on this album. Compared to my previous albums, this was the first time that I had a clear visual representation of my music, as geometrical forms -- each element of a track suggested a form that intertwined with the other elements."
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2LP
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ELP 020LP
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2018 repress. Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in 2012 and 2013 on Steve Moore and Anthony Paterra's VCO Recordings, as well as a cassette only release on Ecstatic, never before available on vinyl. Abul Mogard's relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music - using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realize a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker. The nine tracks on Works are soused in an emotional richness that's hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us. The fact that Mogard hails from an area hardly well-known for its synth music, and that he's of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magic surrounding this remarkable artist and his layered, emotional music. RIYL: Alessandro Cortini, The Caretaker, Fennesz, Tangerine Dream, Brain Eno, Tim Hecker.
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LP
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ERGODOS 028LP
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Seán Mac Erlaine's richly-textured woodwind sound meets an expanded palette on Music For Empty Ears, the Irish musician's breathtaking new album. Having honed his distinctively-shaped soliloquies over his first two solo records, Mac Erlaine's work now bears the mark of collaborations with Norwegian luminaries Jan Bang and Eivind Aarset to reveal a fresh, variegated musical language. The album journeys through a splendor of musical shades: from the gently insistent minimal grooves and hushed invocations of tracks such as "The Melting Song"; to slow pans across dark, saturated vistas on tracks such as "Winter Flat Map"; to a warm, celebratory treatment of the Irish traditional tune "An Buachaill Caol Dubh"; and to moments of visceral, splintered abstraction in "Love The Way They Sing" and "The Alchemist III". Whether it's the elusive vocals of Galway singer Sadhbh Ní Dhálaigh or Mac Erlaine's sublime clarinet melodies that catch you, Music For Empty Ears is an album that reveals more and more with each listen. Bespoke print by Dublin design studio Destinctive Repetition. Comes on heavy-weight vinyl.
Seán Mac Erlaine is a Dublin-based woodwind instrumentalist, composer and music producer, recognized as one of Ireland's most forward-thinking creative musicians. Mac Erlaine works in a variety of settings from free improvisation, contemporary jazz, folk music and experimental theatre, and is a member of the groups This Is How We Fly and the Quiet Music Ensemble. "One of the most interesting and adventurous musicians of his generation" --The Irish Times.
Electronic musician/producer Jan Bang has worked with such luminaries as Jon Hassell, David Sylvian, Brian Eno, and Arve Henriksen. From his work as a pop producer in the '90s, his pioneering work in developing the concept of live remix has led to him being constantly in-demand as producer and performer today. "[Jan Bang is] defying all misconceptions about the vast potential of electronic composition." --All About Jazz
Eivind Aarset is a guitarist with a unique musical vision that absorbs and reflects all manner of music while retaining an enviable individualism and high quality craftsmanship that can span from quiet intimacy to searing intensity. As one of Norway's most in-demand guitarists, Eivind Aarset has worked with Jon Hassell, David Sylvian, Bill Laswell, Jan Garbarek, and many more. "Norwegian Eivind Aarset is in a class of his own proving that lyricism and raw noise aren't contradictory." --The Guardian
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12"
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ESP 004EP
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First ever vinyl reissue of this rare and sought-after private 12" from Germany, 1979, recorded at the legendary Conny's Studio. Smooth and laid-back disco-funk-Balearic sounds, including the underground club classic "House At The Sea". Goya was a German band featuring drummer Charles M. Heuer, also a collaborator of Günter Schickert. RIYL: Stephen Encinas, Psychemagik, Gino Soccio, Dexter Wansel.
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