Dense Distribuzioni News.

Tantissime Nuove Uscite. Leggere Per Credere. Hello,

welcome to our first newsletter after our move to new offices – this is no. 052.

At this very minute, the President of the United States is finally elected. And
it’s quite clear that we are heading towards a sequel of the bad soap that the
world has seen during the last 4 years.
Oh well. What can we say – if repressive politics trigger good music, like some
people claim, then it looks like we will be overwhelmed with carloads of
stunning albums in the next few years.

But now, end of irony: please take note of our new address: some of you have not
yet changed it in your mailing lists. And keep it going.

The Dense Promotion Team

>>> >>> >>>


AUTODIGEST – A Compressed History of Everything Ever Recorded, Vol. 2:
Ubiquitous Eternal Live [CD Ash International / Cronica] DINO FELIPE – I’m You [CD/LP Schematic] DURAN DURAN DURAN – Very Pleasure [CD Cock Rock Disco] EVIL MOISTURE – Killer Nuts (CD deco)
FINESSE AND RUNWAY – s/t [CD/LP Schematic] FLOSSIN – Lead Singer [CD Ache Records] ILIOS – Vento Elektra [CD Antifrost] JEFF PARKER – The Relatives [CD Thrill Jockey] JUSTIN BENNETT & TOSHIYA TSUNODA – Cacerolada / Cleavage of Acoustics [LP
Stichting  Mixer] MARTUX_M & KAFFE MATTHEWS – Dissectio / Environmental Cleaning Moments [LP
Stichting Mixer] MATTIN / DION WORKMAN – Via Vespucci [CDEP Antifrost] MY JAZZY CHILD – I Insist [Clapping Music] PHTHALOCYANINE – No One Said You Didn’t [CD Planet Mu] REUBER – Kintopp [CD/LP Staubgold ] SON OF CLAY – The Bird You Never Were [CD Komplott] STROMBA – Giddy Up [12″ FatCat] THE PREFECTS – Amateur Wankers [CD Acute Records] TILIA – vous rêvez/ vous ne rêvez pas [CD Cronica] V.A. – EARSUGAR JUKEBOX 45 RPM SINGLES SERIES [5×7″ Earsugar]

please reply if you’re interested in reviewing any of the releases but before
please check the territory specifications below.

>>> >>> >>>

AUTODIGEST – A Compressed History of Everything Ever Recorded, Vol. 2:
Ubiquitous Eternal Live [CD Ash International 6.1 + Crónica 016]

“Ubiquitous Eternal Live” is the second chapter of Autodigest’s “A Compressed
History of Everything Ever Recorded” series.
Volume 1, from 2003, proposed an aural illustration of current syndromes in
digital compression which abandon fidelity, subtlety and complexity in favour of
speed, efficiency and endless storage capabilities.
Volume 2, now released, approaches the History of Recorded Sound under a
considerably different perspective: it brings together all the audiences ever
recorded and has them share one hour of hysterical, progressively apocalyptic
applause. This is presented as less of an archive and more of a critical eye
loaded with a few conceptual cards as foundations, from Debord to Baudrillard,
from Harvey to Adorno.
The aim of Autodigest’s statements is to illustrate the collapse of music as we
know it – codified, copied, digitised, burned, compressed, freely and readily
available, all of this at a time when we can download music much faster than we
can listen to it, all of this at a time when a soda drink offers one hundred
million songs for free.
Ultimately the song remains the same, but our relationship with it has changed
beyond recognition and redemption. Just try to imagine what a concert would mean
to an audience before sound could be recorded… yes, we’ve come a long way,
baby – and maybe, just maybe, deserve to end up with those one hundred million
songs in our pocket. The choice, it seems, is pretty much down to the cute
colour, pattern or ringtone of the week.
“Ubiquitous Eternal Live” is a joint release by Ash International (UK) and
Crónica Electrónica (Portugal). The audio track was assembled and composed in
Portugal in early 2004, and was mastered by Denis Blackham in April 2004.
The design work is by Jon Wozencroft, over photography work by Heitor Alvelos.


DINO FELIPE – I’m You [CD/LP Schematic SCH039]

Dino Felipe is the Charley Patton of electronica. If the Mississippi Delta blues
never had a player with quite the same slip-and-slide frenzy as Patton, then
Atlanta might never have a more half-crazed, dot-matrix funk-face than Felipe.
Felipe’s music has the soulful brokedown jams that stand to make him the seminal
voice of our generation’s economic collapse. Felipe’s music is the glorious
epitome of the home-made sound: anarchistically cluttered, cigarette-burned, and
hyper from cheap coffee: every speck of lonely life digitized and made into a
WAV file.
Felipe can turn a gluttonous mess of industrial samples, Moog-noises, disco
breaks, and satanic-style backmasking into a heroic tribute to modern life: our
freeways, vacant lots, disposal bins full with discarded PC towers, stretch
limos with teenagers inside, and lots of commercials-it’s all there in Felipe’s
sound. “I’m You” is the honest truth. He turns our thoughts into sound.


DURAN DURAN DURAN – Very Pleasure [CD Cock Rock Disco Crock001]

“Very Pleasure”, the debut album from Duran Duran Duran, is easily the greatest
album ever created. Widely known as the band with the best moniker ever devised,
Duran Duran Duran is more than just a name, they are an inspiration to a new
generation all over the world. The album, 9 tracks of sample munching 80’s shit,
blow jobs, and amen breaks, will be one of the definitive Breakcore albums of
all time. It’s fast, hard and leaves you wanting more.
Some people have reported that Duran Duran Duran is produced by Jason Forrest,
(he wishes it were true!) but the genius lies solely with 3 people:
Ed Flis, Michael Chaiken, and Tony Gabor. While both Michael and Tony
contributed to “Very Pleasure”, Ed Flis is, however, the main working member of
Duran Duran Duran. A young lad from Philadelphia, Ed Flis has been traveling
around the world stealing your girlfriend and exploding laptops. One might call
him the new John Holmes.
This is the first release from Cock Rock Disco, founded by Jason Forrest and
made in conjunction with Very Friendly Records / Cargo UK Distribution. Cock
Rock Disco has been established to release amazing new music by a new generation
of producers. Please look for upcoming releases; they are fucking great, we


EVIL MOISTURE – Killer Nuts (CD deco DECO007)

Andy Bolus aka Evil Moisture is an english hooligan now based in Paris, figure
of the “international underground noise scene”. He makes modified electronic
toys, rewiring circuits such as those found inside children’s talking computers,
using the aleatoric sounds generated as source material for hi-speed cutup
sound, as well as making installations. He has exhibited his work at , most
notably in Spiral Garden (Aoyama, Japan), Collosseum, London UK, La Boca Moreno,
Brighton, UK Old School Gallery, Brighton, UK, Pheonix Gallery, Brighton, UK,
Batofar, Paris, Watarium, Tokyo, Japan, Bimbo Tower, Paris, Paris Project Room,
Paris. In addition he produces a catalogue of his alien objects, availables at
Bimbo Tower (Paris), Los Apson (Tokyo) and Kurara Audio Arts (Tokyo). He has
worked with Yamantaka EYE (Hanatarash, XoX, Boredoms), Hironori Murakami (Vomit
Lunchs), Erik Minkkinen (as Intertecsupabrainbeatzroomboyz*) Andrew Sharpley (as
AA) and Noel Akchote (as Lenny Kravitz U.K), as well as manufacturing modified
toys for Luc Ferrari’s new recordings, and making headphone equipment for “Le
Placard” büro/festival. He has conducted interviews for “Bananafish” magazine
(USA) and written reviews for others such as as E.S.T. (UK), and his graphic
works have been published by Le Dernier Cri (France). He also runs the label
“Doomation records”. “Killer Nuts” is his first notable album composed as a
funny and acid patchwork of dirty cut-ups, degenerated stupid eurodance and old
school harsh noise !


FINESSE AND RUNWAY – s/t [CD/LP Schematic SCH046]

Finesse and Runway is the trouble child of miami booty bass and visqueen sheen
post-disco 80s fury. Listening to Finesse and Runway is like strapping on
afro-futurism night-vision goggles and looking at all your 1980s 7-inches. As
much indebted to KMFDM as they are to Madonna, these electro-riotbots hold down
the dance floor while simultaneously raising the jizz rag flag of sexual
Finesse and Runway is the joint project of miami natives Dino Felipe and Melba
Payes. “Finesse and Runway’s [live shows] flow between ass-shaking
roller-skating jams and chaotic, amphetamine-drenched, Boredoms-like noise as
they chase people with strobe lights, roll around on the floor, and basically
lose their shit.”


FLOSSIN – Lead Singer [CD Ache Records ACHE015]

LEAD SINGER reminds me of the moments when I’m climbing the staircase to my
bands practice space and I am able to hear 4 bands practicing at once, all at
matching volumes. It’s a documentation of the rare times when somehow, the
cacophony that echoes threw the staircase seems to be mildly orchestrated – a
snare hit in one room triggers a wash of noise in another, or 2 guitars feedback
in key with each other. But the sounds on FLÖSSIN’s debut full length are not
accidental, nor are they created by 18 people all playing shitty alternative
rock – they are created by 3 stunning improv musicians, CHRISTOPHER WILLITS,
ZACH HILL (HELLA), and MIGUEL DEPEDRO (KID606), who play off echother like some
uber modern jazz trio. The combined history and previous efforts of these three
artists becomes the soil from which new, prickly forms emerge.
As the direct opponent to “cold and calculated”, LEAD SINGER is “warm and
spontaneous”; a sonic wash of masterful free-drumming, guitar manipulation, and
digital stylings which creates a warmth to bathe in.


ILIOS – Vento Elektra [CD Antifrost afro 2027]

Vento Elektra (Electric Wind in Esperanto) is the 10th solo release by ILIOS. It
has been recorded using electrical signals and electricity as sound sources.
ILIOS detests press releases so there is not much more to say about this work,
apart that he has performing more than 60 concerts the past years in Europe and
Japan and has been collaborating with the likes of: Francisco Lopez, Jason Kahn,
as11, Coti K. and many others. ILIOS is trying to protect his anti-career by
constantly moving along the thin lines of the conceptual and the physical, the
orthodox silence and the catholic noise.


JEFF PARKER – The Relatives [CD Thrill Jockey thrill129] -> promo only in Germany and Eastern Europe

Jeff Parker is a member of the genre-splitting outfit Tortoise and has also
played in the Chicago Underground Quartet/Trio, as well as the fusion leaning
Isotope 217. He is one of independent Jazz’s most in-demand guitarists and
widely considered it’s most versatile guitarist. Jeff Parker has been featured
on the cover The Wire magazine and as a solo artist appeared in Jazz Times,
Jazziz and various Jazz magazines. As a member of the Chicago Underground,
Isotope 217 and Tortoise he has graced the pages of everything from Rolling
Stone and Spin to The New York Times and The New Yorker. “The Relatives” is Jeff
Parker’s first solo record on Thrill Jockey, but his second solo record to date.
The first was released on legendary Blues and Jazz label, Delmark.
The Relative was composed by Parker and bassist Matthew Lux, with whom the
guitarist worked in Isotope 217, the band for whom it was originally conceived.
“I decided to revive it for this recording,” says Parker. “I composed the bulk
of the tune, but the weird, twisty bassline that roots the intro and outro was
composed by Matt Lux. The first two-and-a-half minutes of the tune are my
attempt at demonstrating an abstraction of my perception of Relativity, which
essentially means that as one
moves in space, one’s perception of said space is altered by one’s movement. I
tried to aurally capture this by having everyone perform various repeating
figures on different tracks that start at one tempo, then ramp up or down to
another tempo, and end together at the original tempo.” The CD’s one
non-original is a gorgeous reworking of Marvin Gaye’s “When Did You Stop Loving
Me, When Did I Stop Loving  You,” on which Barsheshet shines particularly


JUSTIN BENNETT & TOSHIYA TSUNODA – Cacerolada / Cleavage of Acoustics
[LP Stichting  Mixer MLP.03]

Both Justin Bennett and Toshiya Tsunoda have gained a reputation when it comes
fieldrecording-based soundworks. Using their sonic surroundings as the
startingpoint for their work, both are unique in approach and result.
“Cacerolada” is based on a noise-protest against the Iraq-war, recorded in
Barcelona. It wakes up and dies out as any day does, gradually moving along all
kinds of sonic occurrences in between. Compared to Tsunoda, Bennett’s work comes
from a more contemplative approach, outlining to his listener the beauty,
absurdness or musicality of the everyday soundtrack he’s living in. Originally
these protests served a highly  political goal, to record them and treat these
recordings as a piece, is what made “Cacerolada” into a sound-object, to be
listened to with different ears. This is the core of Bennett’s work.
Tsunoda’s “Cleavage of Acoustics” stands in close relation to previous works in
which he tries to integrate somewhat technical concepts into the everyday beauty
of singing birds and chirping crickets. Tsunoda adds to the body of these
compositions of the public domain, as Justin Bennett does, but takes a different
route to get there. He experiments to find out the musical relevance of
technicality for natural sounds and forces a symbiosis between the two. The
results still contain the associative character and organic development so
typical for environmental recordings, but have a new, more abstract, mimicry.
The sometime subtle, sometimes clashing, but always interesting interference
between these two worlds, is what gives Tsunoda’s work a very unique twist. It
can exist as a completely autonomous entity while grafted upon the soundmaterial
we all know so well. Tsunoda, like Bennett, makes us hear our surrounding
acoustic reality in a different way. Not by fencing off certain parts of it, as
Bennett does, but through simple yet very effective technical interventions,
making it’s appearance shift a bit or two.


MARTUX_M & KAFFE MATTHEWS – Dissectio / Environmental Cleaning Moments
[LP  Stichting Mixer MLP.04]

Two composers thriving to create musical aesthetics out of cold, clinical
electronic sound. Although Kaffe Matthews’ recorded works are mostly based upon
improvisational sessions and Martux’ is purely composed, both clearly show that
it’s ideas that weigh, more so than the use of affective or anecdotal material.
“Dissectio” has been originally commissioned by GMEA (Groupe de Musique
Electroacoustique d’Albi-Tarn) and La Muse en Circuit, as a reworking of
“Natures Vives II”, a chamber electronic music piece by Vincent Geais realized
on a Serge modular synth. Martux_M, aka Maurizio Martusciello, has made Geais’
work into a composition of extremes. There’s no news in the use of seemingly
clinical material as pure sines, crackles and pulses are, but Martusciello adds
something extra. Not just by means of generating slightly different sounding
workingmaterial (within this almost geometrical domain), it’s more through his
compositional gift that he knows how to express with these bald ingredients.
Although still just pulses, sinesoïds and crackles, altogether they create a
vivid, mysterious and in a special kind of way, highly narrative musical work,
which pushes the listener between the pleasure of relaxation and irritation
because of its hectic structure. This dualistic character makes ‘Dissectio’ an
intriguing work that will keep up fascinating.
Kaffe Matthews continues where ‘Dissectio’ had evolved into; a gently developing
and wringing body of tones, showing an almost opposite way of how to deal with
more or less similar sound-components. ‘Environmental cleaning moments’ might be
one of her more quiet works, with great transparency too. These tracks often do
not consist of more than slowly modulating tones with different timbres,
fine-tuned to get the typical rough-cut sound Matthews gives along to all her
work. A certain sweetness is hidden in there, but always with a sharp edge. Her
compositions revolve around the idea of
repetition (or recycling is perhaps a better word given her extensive use of
Live Sampling) at different speeds, either with small ping pong-like proportions
of sound, or with long sustained sweeps, occasionally shifting gears and
changing harmonic boundaries doing so. ‘Environmental cleaning moments’ moves
through its different acts, with great care and without any doubt about the
choices being made or the music being heard. It tells its story very clearly,
through an awaiting beginning growing more intense on its way, a breathpauze
afterwards and a concluding ending to round things up in a assuring way. Kaffe
Matthews is, as one of few, able to write such a play with so minimal means and
still fuse them into a full and pulsating body with beautiful organic
development in it.


MATTIN / DION WORKMAN – Via Vespucci [CDEP Antifrost afro 2025]

Via Vespucci is a live recording by two of the most interesting fellows in the
sound art circuit lately: Dion Workman, originally from New Zealand but now, NY
resident and Basque artist Mattin.
Via Vespucci is the result of the confrontation of Mattin and Dion Workman last
year in New York. The 19 minute piece sees Dion Workman taking the pace of this
electronic crescendo whilst Mattin balances the crucial moments adding more
emotion to the ambience.
Dion Workman has started Sigma editions and label and has worked with Rosy
Parlane and Julien Ottavi  among others.
Mattin has been around in the improvisation scene in order to mess up things and
provocate a bit with his old computer. He has worked with the likes of: Eddie
Prévost, Rosy Parlane, Mark Wastell, Oren Ambarchi, Radu Malfatti, Junko, Dean
Roberts, Klaus Fillip, Bruce Russell, Taku Unami, Matt Earle, Dieb 13, Campbell
Kneale, Xabier Erkizia, to name but a few.


MY JAZZY CHILD – I Insist [Clapping Music CLAP006] -> no Promo in Scandinavia, France, Benelux

Prick up the ear. Watch the death of a wind up harddrive, and hear the intimate
confessions of a mask, talking in private with itself, with its multitrack
recorder, its guitare, its slender voice, its abstract English. I Insist says a
lot of things at the same time, first and former that Damien is still around,
that he is still scramming the tracks, fast, straight ahead, that he is yet
adding another coat of varnish on the gleaming eclosion of Sada Soul. Because
showing your face for the first time to a wide audience (and god knows the boy
had done everything he could to postpone the day it would happen) is not an easy
thing, that it asks for drastic and irreversible choices, and that sometimes
those choices can make the balance turn a bit too much on one side. Or the
other. Anyway, this second opus within territories somewhat more stripped and
song-friendly, after Sada Soul, seems to make the balance turn a bit more on the
good side. If you manage to figure out which one it actually is. I Insist
insists, after a former hifi and humm-able 180° jump into the unknown, and looks
like a collection of songs; I Insist insists, after the discovery of a voice,
which piles up uncertain, wobbly words, and which above all seems to like its
own frailty; I Insists insists and says; I do write songs, and I do write them
the way I feel like to, I’m free and I do have enemies, but my songs are
prettier than yours. And yet: I Insist also hesitates, comes back home, just
where old vinyl records, friends, lost gems, old cheap microphones, crowd under
a coat of dust; I Insist hesitates and mixes up a bit of everything, beautiful
drones, miniatures, real demos that are prettier than their definitive
succedaneums; I Insist hesitates and puts everything back in its right place. I
Insist is the antithesis of its predecessor, and thus steps up towards, before
the actual conclusion, this beautiful realness which the current first rate
maker’s music that uselessly fills up sonic time with producer’s gadgets lacks
up so much.
Before I Insist, let’s keep in mind that My Jazzy Child roamed in the worlds of
rock, free improvisation, noise, cheap keyboards melopoeia, that he funded with
Ernesto Carnaval the copyleft label Evènement!, that he reinvented rock that
makes you dance with Arafight, and released many hard to find gems which all
haunt, with a distance, the music he produces in his own name.


PHTHALOCYANINE – No One Said You Didn’t [CD Planet Mu ZIQ096] -> no promo in UK, Benelux

Some of the most listenable and melodic work yet from LA’s Phthalocyanine.
Bringing in slight rave and hardcore flavours to his off-kilter harmonically
“wrong” melody clusters. Like hearing slabs of jazz noise through pastoral
electronica with waves of gabba and Belgian techno fighting spidery distorted
rhythms and breaks.
“…Phthalocyanine’s, lo-fi electronic adventuring is dense and massively messy.
It obeys its own auto-destructive, scattershot illogic, stuttering and leaking
lo-fi noises in a staggering, multidirectional chaos. Crude beat-blasts
occasionally puncture the mix. Rhythm clips ricochet off sounds like bursts of
small arms fire. Prismatic melodies circle off-pace. Foggy banks of synth noise
puff up and seep out across a bubbling swamp of electronic noise.” (The Wire)
This is the second album by Dimitri Fergadis on Planet Mu, follow up to 2000’s
“25 Tracks Fer 1 Track”.


REUBER – Kintopp [CD/LP Staubgold  48] -> Promo only in UK, France, Benelux, Scandinavia and Eastern Europe

“Kintopp”, the acclaimed Cologne musician’s third album, is his best and most
complete to date. Reuber draws from many years of experience in the field of
psychedelic electronic music, both solo and as one half of the duo Klangwart
(with Markus Detmer) with whom he recorded two full-length albums (“Köln-Olpe”,
“Kintopp” (a colloquial German expression for “cinema”) narrates a movie;
instead of words, it creates images in the mind of the listener.
In the style of a collage, associative sounds and sequences from various
different musical contexts were reassembled and interwoven with each other. The
new musical pieces thus composed offer plateaus rich in imagery and emotion -– a
point of departure for the audience’s imagination, travelling alongside the
story or beyond it.
About Reuber’s first album “Anna” (staubgold 8) Vital Weekly wrote: “The result
is a cosmic trip with sounds moving everywhere, very vivid. With some of the
overtones I was reminded of Steve Reich on acid with electricity up his you know
what. It’s very pleasant music to sit through, read the newspaper and enjoy
About Reuber’s second album “ruhig blut” (staubgold 18) The Wire wrote: “Timo
Reuber is the creator of burnished electronic surfaces with Markus Detmer as
part of the Cologne based outfit Klangwart. His latest solo offering comprises
three carefully constructed pieces that nervously tweak the listener’s
expectations. Following an extended opening study of stillness and minutely
shaded points of transition, the second track immediately hurls itself into a
concentrated expresion of compressed
distortion and relentless repetition that sweats, labours and interrupts itself
to a merciless overload over 20 minutes. Which makes the small moments of dreamy
quiescence contained in the closing composition, ‘Schlaf gut’, all the more


SON OF CLAY – The Bird You Never Were [CD Komplott escudre04] -> No promo in Sweden

Timing and elegance
“Before you play two notes learn how to play one note – and don’t play one note
unless you’ve got a reason to play it.” – Mark Hollis (1998)
It’s been nearly two years since Komplott introduced the musical sphere that is
Son of Clay on his much acclaimed debut album “Face Takes Shape”, and it’s with
great pleasure that we now present the follow up.
With “The Bird You Never Were” Bertilsson refines the fusion between acoustic
sounds, fieldrecordings and digitally processed material introduced on the debut
album. The result is a transparent and poetic work where the sound and the
timing itself is everything. Behind every manoeuvre there is a decision.
In Bertilsson’s musical works we find contrasts between the digital and the
analogue, between nature and urban life and between chance and structure. The
first track on the album is more closely linked to the debut album with its
intense atmosphere, while the following tracks are more open and present a more
elaborate use of wood- and metal sounds and processed instruments like the
guitar and the clarinet. Lingering and tentative tones mixed with swift attacks
of sound unite, form a structure and then deconstruct to start all over again.
The seemingly simple grows into complex musical compositions full of detail, of
precise and restrained intensity where silence form a balance between
disturbances and tranquillity, the surreal and the ordinary.
The music of ”The Bird You Never Were” is, despite its abstractedness, bare,
personal and direct. The sounds create a state which forms a direct link to body
and memory. Bertilsson creates a personal renewal of his musical experiences
from composers such as Morton Feldman, Lars-Gunnar Bodin, Mamoru Fujieda, Akemi
Ishijima, Jimmy Giuffre and Talk Talk, avoiding the electronic genre’s focus on
the technical execution of the composition. A poetic soundscape takes shape
where the sounds may be seen as separate objects, focused timbres where every
movement is executed with deliberate and simple elegance.
Andreas Bertilsson lives and works in Berlin.


STROMBA – Giddy Up [12″ FatCat 12FAT047] -> promo only in Germany, Scandinavia and Eastern Europe

After a four year hiatus Stromba are back with a brand new three-track 12″.
Following their previous FatCat EP, ‘The Pinch’ – the group’s only previous
release – ‘Giddy Up’ is a precursor to the band’s debut album, due for release
on FatCat in early 2005.
Stromba is made up of two core producers, James Dyer and Tom Tyler, alongside
regular collaborator James McKechan (bass / guitar), this release also includes
conributions from Adrian ‘Terry’ Meehan (drums & percussion) and Duncan  Mackay
(trumpet, melodica & hammond organ). Keeping one foot firmly on the dancefloor
(unusual for the band!), “Giddy Up” is a 7-minute Afro-disco workout which
recalls the killer 12″ “Sesso Matto”.  Blaring trumpets ride over live drums and
tight percussion, whilst an ever-present, solid bassline snakes a groove
thoughout. Exclusive to this release, ‘Giddy Down’ (an alternate version of
‘Giddy Up’) relives the heyday of the extended 12″ disco mix. Stripped-down
percussion, an ESG-esque bassline, and the rawest of grooves could see this
record placed next to classic West End or TK label 12″s.
Yet there’s no 80’s retro revivalism going on here – just the love of a live
feel that seems to have been lost from most club records of today.The third
track on the EP, ‘Septic Skank’ is an authentic heavyweight dub outing with all
the right ingredients. Floating melodica and hammond organ pinned down by a
thunderous bassline,  massive echoes, big rewinds… but again, this is not
simply a retro move. Stromba take influences as a starting point, inflecting the
music with their personality, taking things in their own direction, mixing up
live recordings and studio technique. Both ‘Septic Skank’, and ‘Giddy Up’ serve
well as a pointer to the breadth and scope  of the forthcoming LP.


THE PREFECTS – Amateur Wankers [CD Acute Records ACT 7] -> no promo in UK

Why doesn’t anyone remember the Prefects? Some remember the band they became,
the Nightingales, who on Rough Trade and Cherry Red records, blazed trails
similar to The Fall and Mekons. But England’s The Prefects, leaving few
artifacts, are the great coulda-shoulda been post-punk band of the late ’70s.
Rubbing shoulders with Wire, Joy Division, the Slits, and the Clash, the
Prefects garnered critical acclaim for both their terse and witty punk outbursts
and their intense art/post-punk experiments. Acute Records is excited to present
for the first time ever their complete studio recordings plus two live tracks
for the definitive Prefects collection. With this long overdue reissue, The
Prefects’ place among the most significant UK bands of the post-punk era will be
The CD includes extensive liner notes written by members of the band and the
“fifth” Prefect, roadie, sometimes manager Helen Apperly (plus rare photos and
flyers). Also the CD includes 2 otherwise unrecorded live songs. “625 Lines” was
recorded in 1977 at the final night of the Electric Circus club in Manchester
where the Prefects  shared the bill with The Fall, Buzzcocks, Magazine and
Warsaw (later known as Joy Division). John Peel’s favorite, the 7 second long
“VD” was recorded during a 2001 reunion performance.


TILIA – vous rêvez/ vous ne rêvez pas [CD Cronica 015]

“vous rêvez/ vous ne rêvez pas” it’s Alexander Peterhaensel’s tilia debut on
Crónica. Originally an electronic multi channel piece written and produced by
the Munich artist, it was performed for the first time in cooperation with the
“” at the “London Resolution Dance Festival” in early
2003. As guests, Christian Schwenkmaier contributed some intriguing bass lines
and Jo Morgan, her beautiful voice and a lot of inspiration. Richly crafted out
of remarkably beautiful piano loops, humming voices and elegant beats it reminds
of modern serial music by Steve Reich as well as of American television series
from the 70s, the influence of minimal electronic is just as audible as the
music of post-rock bands like tortoise. The release of this 30 minute stereo
mix-down comes also as a full video version directed by Peterhaensel, where a
tight audiovisual intertwining can be experienced.


V.A. – EARSUGAR JUKEBOX 45 RPM SINGLES SERIES [5×7″ Earsugar] -> no promo in UK

Mek Obaam – ‘Goodnight, Thank You’ is the debut 45 from Schneider TM and Barbara
Morgenstern collaborator Mek Obaam. Mek’s style is reminiscent of early releases
on Scotland’s Postcard Records by artists like Orange Juice and Josef K, had
those acts been influenced by Psycho Candy era Jesus and Mary Chain.
Hi Lonesome Electric – ‘Pierre and John Henry’ takes an American folk tale,
touched upon over the years by everyone from Johnny Cash to New York noise-nik
Ellen Fullman, and sets a new story against deep listening electronics, John
Fahey style guitar loops, dub effects and crackles. B-side instrumental track
‘Hoola’  pays tribute to Hawaiian slide guitar in a ‘Basic Channel goes to
Waikiki Beach’ fashion and versions the A-side in melodic guitar loops,
electrical rhythms and dub.
The Schneider TM Experience – Following on from his remix collection
‘Reconfigures’, released on Earsugar this summer, Schneider TM returns with a 45
for the Earsugar Jukebox series. This single features the Schneider TM
Experience, the live line-up featuring Kptmichigan (aka  Michael Beckett),  Mek
Obaam (aka Christian Obermaier) & Schneider (aka Dirk Dresselhaus). ‘Psychedelic
Queen’ is a TM tribute to Queen’s ‘Don’t Stop Me Now’  which is dedicated to
Martin Rev and Alan Vega from Suicide, the infamous electronic duo who first
appeared on the CBGB’s scene in New York during the 1970’s.  ‘Psychedelic Queen’
is the next step in Schneider TM’s & Kptmichigan’s
cover version series of famous British pop-songs which began with ‘The Light
3000’. The flipside of this 45 features ‘Uh Yeah, Baby!’ an acid noise track
performed & recorded live at ‘Die Kammer Studios’ by Michael & Dirk. This track
is dedicated to Jimi Hendrix.
Super Reverb – Super Reverb is Kptmichigan and Köhn. Kptmichigan plays in the
Schneider TM Experience, releases solo albums on the Aesthetics label in the US
and was  Schneider’s partner in crime on that classic Smith’s cover version ‘The
Light 3000’. Köhn is from Belgium and has released material on the Kraak, Tomlab
and Western Vinyl labels. In Spring 2005 Super Reverb will release their debut
album ‘Avantgarde is the French Word for Shit’ (this single for Earsugar Jukebox
is taken from the album).
Country punk folk drone boogie noise lunacy in full effect. Think Spacemen 3,
Canned Heat (no joke), The Beatles, The Jesus and Mary Chain and Ween.
Julia Hummer – Julia Hummer is a known actress in her native country of
Germany…and in a unique Berlin meets Hollywood fusion…her music echoes the
1980’s Los Angeles indie scene, with nuances of bands like Rain Parade, Dream
Syndicate, Opal and Mazzy Star.  Julia, together with her musical accomplice and
producer Christopher Uhe, has brought a modern European response to this classic
American sound…like Velvet Underground coming to terms with Bob Dylan but with
Nico at the helm.

>>> >>> >>>


RADIAN [Thrill Jockey] 04/11 CH – Basel, NT-Areal
05/11 CH – Luzern, Boa
06/11 CH – Genf, Duplex
07/11 IT – Latina
11/11 DE – Schorndorf, Manufaktur
12/11 DE – Dresden, Scheune
13/11 DE – Chemnitz, Voxxx

ENCRE + MY JAZZY CHILD [Active Suspension / Clapping Music] 04/11 FR – ENCRE + MY JAZZY CHILD Live / VKS / Toulouse
09/11 CH – ENCRE + MY JAZZY CHILD Live / Frison / Fribourg
10/11 CH – ENCRE + MY JAZZY CHILD Live / l’usine/  Geneve
11/11 IT – ENCRE Live / Casalmonferrato / Alessandria + TARA JANE O’NEIL

HYPO [Active Suspension] 04/11 FR – Active Suspension Evening / Point F.M.R / Paris + THE KONKI DUET +
O.LAMM & Friends Live
12/11 IT – time zone festival / bari

THE KONKI DUET Live & Djs [Active Suspension] 04/11 FR – Live / Point F.M.R / Paris + O.LAMM

DOMOTIC [Active Suspension] 13/11 FR – Festival musiques volantes / Metz + XIUXIU / HIGH LLAMAS / FELIX

TEMPO TECHNIK TEAMWORK festival – Ausland, Berlin [Staubgold] a special 2-days festival celebrating the release of Staubgold’s Tempo
Technik Teamwork compilation
12/11 DE – Minit (live), Arnold Dreyblatt + Konrad Sprenger (live) + Staubgold
Sound System (Tim Tetzner and friends)
13/11 DE – Joseph Suchy (live) , Aki Onda + Alan Licht (live) + Staubgold Sound
System (Tim Tetzner and friends)

KAMMERFLIMMER KOLLEKTIEF [Staubgold] 12/11 CR – zagreb, kset
13/11 SL – maribor, festival

THE EX 25-Years Anniversary Festival
19-20/11 NL – November Paradiso, starts at 8 PM

THE EX exist for 25 years and celebrate this with a party full of adventurous
Artists from all over the world together on an extraordinary festival, two days
and one night at the Paradiso in Amsterdam Holland. For 19th and 20th November
we invited a selection of our favourite musicians, which we encountered on our
various tours in many outskirts of the globe:

– The Evens (Ian Mackay & Amy, USA, songs&drums)
– Electrelane (GB, impro&pop)
– Zea (NL, experimental&pop)
– Silent Block (F, selfmade instruments&tables&electronica)
– ICP + Getatchew Mekuria (NL + ETH, Instant Composers Pool & Ethiopian
– Anne James Chaton (F, poet-sonore)
– Gold Blade (GB, Rock&rock)
– Free Fall (ao Ken Vandermark, USA, free&jazz)
– Cor Fuhler + Michael Schumacher (NL + D, grand-piano&dance)
– Peter Zegveld (NL, explosions&soundscapes)
– Kaffe Matthews (GB, samples&electronica)
– John Butcher (GB, multiphonics saxophone)
– Katie Duck (NL, dance)
– Jon Langford (Mekons) (GB, pop&punk&country)
– Zu + Mats Gustafsson (I + S, noise&jazz&hardcore saxophone)
– Mohammed Jimmy Mohammed + Messele Asmamaw + Asnake Gebreyes
(ETH, Ethiopian hits&drums&krar)
– Yannis Kyriakidis (GR, electronics)
– Jaap Blonk (NL, sound-poetry)
– Neptune (USA, welded metal guitars&popsongs)
– Jem Cohen (USA, films)
– Hisako Horikawa (J, dance)
– Han Bennink (NL, drums)
– Paul Lovens/Tony Buck/Andy/Terrie + guests
(D/AUS/GB/NL, improv guitars&drums)
– The Living Ex Jukebox: Wilf Plum (UK, ex-Dog Faced Hermans) &Andy Kerr (CAN,
– DJ Andy, DJ Ken (Friday night)
– Roza Barba (I, installation)
– The Ex (NL)
– Abyssinia Restaurant
– Ex museum


04/11 UK – Autodigest versus 3 saxes: Lol Coxhill, Rob Mills and Alan Wilkinson
Atlantic Waves Festival, The Spitz, London
04/11 UK – Paulo Raposo + Janek Schaefer: Atlantic Waves Festival, The Spitz,
06/11 US – o.blaat, Chelsea Art Museum, New York
10/11 NL – Ran Slavin plays Insomniac City, Affective Turbulence: The Art of
Open Systems – Dutch Electronic Art Festival [DEAF] V2,
19/11 IL – @c, Ran Slavin, Ido Govrin, Yair Etzyoni, Rani Golan and Liora
Belford VideoZone 2, Tel Aviv,il
19/11-20/11 IL – Crónica Video showcase, VideoZone 2, Tel Aviv,il

TRANSFORMER DI ROBOTER [deco] 05/11 FR – Point Ephemere, Paris: Transformer v. vj Arno Coenen, Teamtendo
06/11 FR – Festival MIA @ Briser la glace, Annecy: Transformer vs Arno Coenen
vj, Spaceheads, Teamtendo, 8 Bits, Lionel Florence , dj + Ai
12/11 DE – Bastion, Bochum: Transformer

BATTERY OPERATED [Cocosolidciti] 06/11 LV – Riga w/ Plaid, Janek Schaeffer, Nightmares on Wax
16/11 BE – Vooruit, Gent. Cocosoliciti label presentation of sound and video
17/11 BE – Vooruit, Gent. Video workshop with beewoo + Emma McRae
18/11 BE – Vooruit, Gent. Sound workshop with Battery Operated + Animals on
19/11 BE – Vooruit, Gent w/ Chris Clark, Animals on Wheels
20/11 CH – Reitschule, Bern w/ Chris Clark, Animals on Wheels
21/11 CH – L’Usine, Geneva w/ Chris Clark, Animals on Wheels

>>> >>> >>>


dense promotion
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10435 berlin / germany
ph +49 30 44 34 02 90
fx +49 30 44 34 02 91