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Antifrost (Greece) :
Marc Behrens / Nikolaus Heyduck “Plastic / Metal” [2cd]
Years after they first met, Behrens and Heyduck realized that each of them independently had been working on the same kind of material, such as plastic bags, bubblewrap, chocolate, medicine, and toy packages.
Heyduck had made several sound and video installations, Behrens had composed “Scenes for Contraction” in 1999 (released on his solo CD “Contraction”). Their first duo performance with a joined pool of this type of material took place inside one of Heyduck’s installations in the year 2000. For the second performance they used a box filled with plastic material and an integrated handheld videocamera equipped with stereo microphones, thus “playing” the plastic inside… The Metal piece was initiated when Heyduck helped to clean Behrens’ cellar one day in 2001. He found two steel drumsets that Behrens had built in 1991 and left to oxidate in a remote angle.
The artists decided to reactivate these instruments for another collaborative project. An extensive recording session and successive digital processing resulted in the basic material used for two performances in 2002 and 2004. Both pieces of this release are products of an evolutionary process – an interaction of sound recordings and physical objects exposed to a live concert situation, and further elaboration to create a concise composition in CD format.
Nikolaus Heyduck is an artist working with audiovisual media since 1978. He studied art in the 1980s and composition in the early 1990s.
Marc Behrens is perhaps best classed as a “sound artist”, working internationally across performance, installation, and recorded media (audio and video).
Joel Colley “Psychic Stress Soundtracks” [cd]
Failure, self-loathing and abject monstrosity continue unabated as the primary themes for Joe Colley’s electro-shock minimalism. as with his previous, equally impressive Desperate Attempts At Beauty, he shifts through a seemingly endless supply of antiquated electric gear and forces these dilapidated machines to grind, crush, whirl and twist under conditions they were not originally designed for. On Psychic Stress Soundtracks, Colley astutely transcribes the machines’ smouldering march to oblivion, granting them the emphatic capacity for pain and the recognition of existential despair. The ozone smell of melting circuity lingers above the nervous Geiger counter clicks and toxic hums of his eelectric dynamos. Colley is a gifted, if sometimes under-appreciated composer whose successes rely upon hte manifestation of the paradox of building something extraordinary out of junk (The Wire)
Ronnie Sundin “Hägring” [cd]
Hägring is the third and final part in the Hypnagogic trilogy that started with Sleepwalk and Morphei which is based upon a fascination for wake dreaming, auditory hallucinations and the memory of sound. Composed using delicate field recordings, computer processed sounds, vibrating piano and guitar strings to create a sensitive dreamlike state. Or was it just a mirage?
Fusetron (US) :
Sightings “Castle Moat/Invisible Coats” [7″]
“I dont wanna eat McDonalds, I wanna eat Sightings!” – Jack Brewer; Saccharine Trust, , May 19, 2005. “Tour” single, edition of 500. Plays at 33 rpms, despite what the label says.
Richard Youngs / Andrew Paine “Mauve Dawn” [Lp]
“For the past eight years Andrew Paine and Richard Youngs have met on almost every Sunday and recorded music. Mauve Dawn is the result of ten meetings during 2004. Its nine tracks feature processed epinette des vosges, glockenspiel, vintage keyboards and guitars, alongside granularly-synthesized household objects hacked together with resonated voices and filtered bells in a stereo field heavy on ring modulation. One part of the Mauve trilogy, this is an instrumental album of classic length.”
Heavy Blossom (US) :
Hototogisu “Green” [cd]
“Green metal music, decanted collage of fuzzy scream vocal loops and mangled buried riffing, bursting w/ vivid colour power electronics and chilly black metal soundscaping. Studio prototyping of the hg signature sound, shorter pieces than the usual jams, even denser than the live version, with blatant referencing of the black metal/ tibetan devotional strands that run like veins of lightning through the dense mesh of noise.” – Heavy Blossom. Edition of 1000 copies with 8 page booklet.
Holy Mountain (US) :
OM “Variations on a Theme” [cd]
OM reunites one of the most powerful rhythm sections in rock music: Al Cisneros [bass, vocals] and Chris Hakius [drums], both ex-members of the legendary Sleep.
Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. The album’s numerous lyrics serve as symbolist vehicles to a state outside the field of time and space. Variations on a Theme is a series of vibrations and flow. The opening track, “On The Mountain at Dawn” is the thematic blueprint of the entire album; a transportive series of differentiated verse with sets of solid groove. “Kapila’s Theme” furthers the motif while the closer “Annapurna” breaks the spell, where the final wash of sound reflects the infinite.
Important (US) :
Hototogisu “Ghosts From The Sun” [2cd]
On this double cd The Hototogisu masterfully create a dense sediment of tetonic drone with the thickest layers of guitar, vocals and electronics. Elaborately arranged, The Hototogisu are obviously season sonic travelers, featuring the legendaryMatthew Bower (Skullflower, Sunroof!) and Marcia Bassett(Double Leopards).
Ghosts Of The Sun is one enormous composition, nearing 2 hours in length, unfolded and nailed together in 7 movements. Starting with a slow drone electronic crawl and climaxing with crackling bone percussion buried howls of haunted minds, Ghosts Of The Sun cries out from beneath an earthquake of guitar feedback and distorion. Ghosts Of The Sun compresses eternity, from the creation of humanity to it’s own destruction, into 7 parts on one double album. This is epic and total sonic overload, by way ofThe Hototogisu.
Vibracathedral Orchestra “Tuning to the Rooster” [cd]
The VIBRACATHEDRAL ORCHESTRA returns with their first-ever album recorded on 24-tracks. Recorded with RICHARD FORMBY (Spacemen 3), the album’s songs were originally split up and released as limited vinyl editions–including splits with JOMF and Low, as well as a giveaway CD made for a Julian Cope curated festival. Recently remixed and now released as a full album.
“This is music as a shamanic aid, made as much for the players themselves as for the listeners. But as I’m writing from the listening perspective, I have to inform y’all that this is music to get you there. Every track sounds as though it has always just ‘been there’, it’s just you ain’t quite tuned into its peculiar frequency until now. The 12-and-a-half minute Wearing Clothes of Ash is like a piano-led PARADIESWARTS DUUL-period drone-a-thon with John Cale and Terry Riley guesting on viola and keys. Following this, the sublime Baptism Bar Blues is proof positive that they can rock the riot house with pure adrenaline rush when the decision is made. Indeed, this track is magnificent and should be available to the masses free or in pill form.” Julian Cope
Kranky (US) :
Keith Fullerton Whitman “Multiples” [cd]
multiples was recorded at the harvard university studios, where a stash of vintage synthesizers and electronics was made available to keith fullerton whitman during his time as a lecturer there. the eight tracks on multiplesflow through hit hat shimmer to skull-scraping electronic tones to interlocking clusters of repetition. this is whitman’s most inclusive and developed album yet. the limited edition antithesis and schöner flu§engel lps released in 2004 showed the range of whitman’s interests, multiples integrates them into a complete work. keith fullerton whitman has described himself as being enamored of “hyper-programmed rhythms & concrète sounds, bleeding freakout guitar, beach-boys style sweet harmony, eastern euro-prog, vintage synth burbles, classic-era minimalism, early mainframe computer music, fluxus-lineage borderline nonsense, complete and utter chaos, doomy chamber pop, and quiet melancholy.” his solo work for kranky has expanded from the processed guitar drones of playthroughs to the tribal psych ritual of “schnee” on the antithesis lp and on to the ominous miasma of schöner flu§engel. multiples is a fusing of these strains of interest and ability into an effective whole.
Load (US) :
Excepter “Throne” [cd]
Like a group groped Helen Keller all too drugged-out to protest, the NYC-based EXCEPTER weaves a dangerous course through the orange cones of cortex caressing sound. Drawing from groups like Chrome and Comus and an assortment of weird-ass flavors, the group crafts deeply creepy music with unidentifiable instrumentation. Four tracks in all, two of which appeared on the band’s KA album, but in newly mutilated forms.
Printed Matter (US) :
Angelblood “Labia Minora” [cd]
“On Angelblood’s new CD, Labia Minora, musical styles and influences mesh and collide in a simultaneously jarring and hypnotic sonic netherworld of hope and despair. Gnarled chants and incantations alternate with ethereal floating singing, conjuring the images and emotions of pagan ritual, blood sacrifice and the quest for redemption. Crunching rhythm guitars and bass pierced by screaming leads form the dark heavy metal undertow of the album’s sound. This is set to repetitive melodies with something of an earthy folk bent, creating a unique, swaying, dirge-like atmosphere – only to be disrupted by the blistering drums and the chainsaw drill of the speed metal reprise, the growl of the hunter-wolf, the bellow of the slain beast. The epic final cut balances on the edge of dissonance and noise, the croon of the sister-brethren, the blood of the slaughtered pig. Angleblood is Lizzi Bougatsos (vocals), Rita Ackermann (vocals), Brian DeGraw (bass), Dave Nuss (drums) and Anders Nilssen (guitar). On Labia Minora special guest Mick Barr (of Orthrelm and Chromtech) plays guitar. Angelblood was formed in the year 2000, and has played internationally in both music and art venues. Labia Minora is their third CD. In addition to being a band, Angelblood is also a performance art group, whose dark motifs and ritualized actions match the concerns of the band. Finally, Angelblood also creates collaborative art works, distinguished by a combination of distinctive drawing and edgy collage. In all of its various incarnations, Angelblood is characterized by a raw, almost desperate approach to art and life, realms which, in the Angleblood ethos, are indistinguishable. It is this rebellious attitude of refusal and iconoclasm, coupled incongruously, yet sincerely, with a sense of pathos and reverence, that sets Angleblood apart from the monotonous drone of monolithic culture.” – Printed Matter.
Sound @ One (US) :
No Neck Blues Band
“The Collective Imaginings of Quantarenius, Cook, & Co. ” [cd]
“This CD documents a live performance at the Greene Naftali Gallery, NYC, the day after Election Day, 2004, by the No-Neck Blues Band, a Harlem-based improvisational group. From the band: “We assemble at this vista, the precipice of the Dim Kingdom, to derail the train of thoughts and to spread the heart like gas.” Co-released with the gallery, and packaged in an unusual black folding card, each CD includes a hand silk screened poster by artist Christopher Wool. Limited gallery edition.”
Southern Lord (US) :
Oren Ambarchi “Triste” [cd]
An expanded reissue of the Triste album from Australian electronic guitarist and percussionist OREN AMBARCHI. The Triste material is reminiscent of his work on Grapes Of Wrath, with his guitar sound/tone transformed into a dark, tonally extreme, percussive instrument, with the sound arranged melodically to create beautiful drone soundscapes. Includes all the tracks from the original version (released on vinyl in a limited edition), along with some remix collaborations with TOM RECCHION.
The Social Registry (US) :
Gang Gang Dance “God’s Money” [cd]
“gang gang dance seems to have found the g-spot of the universe” -time out new york
“the extremely aural intensity of gang gang dance draws you into an experience of negotiation from which a humane and harmonic beauty emerges” -artforum magazine
We are proud to present Gang Gang Dance’s much anticipated second full length release entitled God’s Money. With God’s Money Gang Gang Dance creates a modern music which reorients the palette of electronic music into an organic context, manipulating sound, rhythm and melody in an almost mercurial manner. Painstakingly recorded over the course of a year at Junkyard Audio Salvage, the band utilized whatever means were available to them to craft their sound: drums of all shapes, sizes and circuits, various keyboards and synthesizers, midi-triggering guitar scenarios, vocals reconfigured via a guitar effect pedal and even the occasional aluminum chair. Blending their hypnotic rhythms into a highly structured compositional style or soaring in the lofty heights of practiced improvisation, this recording follows in the footsteps of the bands previous output, all while marking new ground.
In between writing and recording God’s Money GGD spent the last year playing to packed houses in NYC, Europe and on the road with Animal Collective. Exploding with an energy & confidence rarely seen these days and coupling it with such a heightened level of musicianship the band has turned even the most casual of spectators into full on believers. With magazines such as The Wire, The Village Voice, I.D. & XLR8R having already run features on the band, the press is falling into the ranks of the converted.
God’s Money is the height of GGD’s uncompromising sonic pursuit which has spanned the better part of the band’s five year history. Some of this can be gleamed from previous groups the members have been in, including Cranium, Actress, Ssaab Songs & Angel Blood. Though God’s Money may be interpreted as the band’s high-water mark of sorts it is much more the raising of the tide as they continually to push the boundaries of the palette of sound itself with no sign waning.
VHF (US) :
Ilk “Canticle” [cd]
Outrageous CD of prog rock from Richard Youngs’s and Andrew Paine’s Ilk, Canticle is a long promised follow-up to the group’s 1998 CD Zenith, which was released on Youngs’s No Fans label. Unlike Youngs’s more “minimalist” solo records, Ilk drapes his songs and voice in thick layers of heavy jams, and then piles on the production tricks, vocal layers, Steve Howe-style leads, synth bleeps, and other racket in beautifully intricate arrangements. Canticle is clearly influenced by the classic UK progressives but unmistakably contemporary. “A Guiding Principle” and “Landsong” marry Youngs’ and Paine’s multi-tracked voices with overthe- top full rock-band arrangements. “Honour’s Prospect” mixes mystical narration with some searing fuzz-guitar, and is followed by the bass-heavy march of “The Weight of Stars.” “Tilling” shimmers and echoes, leading into the spacey and cosmic “Outward & Homeward.” The folky “Of Souls” serves as a fittingly simple epilogue to the suite. Veronica Rennie’s cover art completes the package in highly appropriate style.
Pelt “Untitled” [cd]
(untitled) is devastating set of almost pure white light from the newly upgraded Pelt lineup. The album’s intense drone music represents a return to “sonic-ism” for the quartet of Jack Rose, Mike Gangloff, Patrick Best, and Mikel Dimmick. Like 2003’s effortPearls from the River, (untitled) is an all-acoustic affair. The group concentrates on producing dense clouds of overtones from guitar, cello, tibetan bowls, gongs, sruti, and esraj. Track one is an overpowering straight line a la the Theatre of Eternal Music, an atmosphere of stasis with gong and bowl flickering subtly over the massive track bed. Track two is a 32-minute epic that begins with the soft strains of Jack Rose’s 12 string, picks up dueling cello and esraj and gradually builds in intensity with the sounds of gongs and other unusual percussion. Track three is the live staple “Sundogs,” where Rose’s Weissenborn lap guitar and Gangloff’s resonator guitar produce a stream of unearthly high, singing overtones in an uncanny acoustic impression of electric feedback. The final track is an epilogue of Best’s keening cello, again ignoring the usual technique associated with the instrument in the pursuit of pure weirdness.
Jack Rose “Kensington Blues” [cd]
“Kensington Blues, the fourth full-length release from Jack Rose, is an inspired mix of styles and sounds that brings his in-person steel string guitar mastery down to CD scale. This is Rose’s most diverse outing by far, with straight ragtime, heavy 12-string, and that sweet, sweet Weissenborn lap guitar all checking in. Honed during endless touring in 2004, the repertoire here is delivered with maximum authority in a series of first-take performances recorded in early 2005.”
Giuseppe Ielasi – Fringes Recordings