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Le Novità Estive. Click For Infos.

FELIX KUBIN & COOLHAVEN – Suppe für die Nacht CD Korm Plastics
GINTAS K – Lengvai/60 x One Minute Audio Colours CD Crónica
GIRL TALK – Night Ripper CD Illegal Art
IKE YARD – 1980-82 Collected CD Acute
ORLA WREN – Butterfly Wings Make CD/LP Expanding
V.A. – Audioptoop CD Korm Plastics
V.A. – Bip Hop Generation v. 8 CD Bip Hop
V.A. – Sacred Symbols Of Mu 2CD Planet Mu

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FELIX KUBIN & COOLHAVEN – Brombron 11: Suppe für die Nacht
CD Korm Plastics KP3025

Korm Plastics is proud to present the eleventh release in the Brombron series.
Originally a co-production between Staalplaat and Extrapool, it is now hosted by
co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started
the Brombron project. Two or more musicians become artists in residence in
Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully
equipped sound recording studio. These artists can work in a certain amount of
time on a collaborative project; a project they always wished to do, but didn’t
have the time or the equipment to realize. Since 2002 Worm, a Rotterdam based
music organisation, is also taking part in Brombron and this new release is the
first to emerge out of their studios.

Many years ago, Felix Kubins uncle Walter Knoth was looking for a composer to
musically illustrate some of his old-fashioned brilliant Schlager texts.
Naturally, his first choice was his own nephew Felix – but obviously this young
guy did not have the versatile qualities to manage such a thing on his own.

Walter placed some big advertisements in all the important German music mags.
After a long period of auditioning Madonna-lookalikes,
Wanna-be-Genesis-P-Orridges and Bearded Kraut Rock Acidheads, Dutch pop mogul
Frans de Waard showed interest and decided to take the Rotterdam group Coolhaven
into the boat – an ecclectonoclast trio consisting of Dorn, Fregge and Guy
Simons. This menage-á-quatre was supposed to record another top-selling album
for de Waards Brombron series.

Due to budget reasons the musicians were only given a period of one week to work
on their songs in a dirty old studio in Rotterdam (Studio L6S – For All Your
Special Projects). Nevertheless, the hyperactive quartett managed to record
about 18 hours of rough material which was finally melted down to 42 minutes of
sheer brilliance. Under the influence of strange instruments, dusty corners and
atmospheric pain, the recording resulted in a fruitful mixture of German Weirde
Welle’ Optagonism, Conservative HipHop, Stockhausen Schläger, No Improv Mixing
and Gabberpop. The mixing was done in long sessions (the longest being 36 hours)
where everybody could have his say. Thats why it took 18 months to release the
bitch. But here she is; Suppe Für Die Nacht. Have some. And don’t ask questions.

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GINTAS K – Lengvai / 60 x One Minute Audio Colours of 2kHz Sound
CD Crónica 024

Crónica is dazzled to present a double Gintas K release, Lengvai, an
hyper-musculated raster and, 60 x One Minute Audio Colours of 2khz Sound, an
open brain surgery in 60 steps, eastern style.

Lengvai (eng. Easily) is the result of long-lasting sonic adventures through
experimental digital post-techno, rich scales of frequencies and dynamics, from
subtle to intense overladen structures. Lengvai is shaped by luxurious
compositional precision, driven under the sway of musical intuition. Colorful
hypnotizing beats, intersections of synthetic textures with sharp and powerful
melodic flows are organized into polychromic soundscapes.

60 x one Minute Audio Colours of 2kHz Sound
All sonic material is created from pure sound at the frequency of 2kHz,
compositionally modulated to rhythmical formations, microsound, thrilling and
rippling acoustic substance, diverse 2kHz “sound colours”. The colour spectrum
becomes a metaphorical equivalent of sound transformation. Sound at 2kHz is the
axis of continuing composition, and even when it moves towards white noise and
seems to disappear, it is still anyway sounding in THE background. The
composition is oriented to a wide scale of listening experiences: from lyrical
moods to unbearable noise. The integral composition has a clear and strict
structure: audio colours are changing periodically every single minute.

Texts by Audio Z.

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GIRL TALK – Night Ripper
CD Illegal Art IA113

Girl Talk (aka GREGG GILLIS) is back with his 3rd album on Illegal Art. With
each release getting closer to his notorious semi-naked live show, Night Ripper
is focused less on beat-fuckery and more on bringing heat to the party. It bangs
as a continuous mix packed with wildly disparate Top 40 genres and eras. Current
hip hop hits, soft rock radio standards, party classics, grunge masterpieces,
R&B singles, glossy club-shakers, and rock anthems are all layered and pieced
meticulously together into one non-stop celebration of pop and excess. Only Girl
Talk’s magical touch could please both dance-crazed teenage masses and mashup
geeks with equal love. Mark Hosler of Negativland has declared it “a
plunderphonics party record.”

Gregg Gills has built up a party-obsessed cult following as Girl Talk over the
past 5 years. The project began with Gillis tearing apart mainstream music using
digital signal processing (DSP) and re-piecing various songs back together into
glitchy avant-garde renditions of pop music. This cut-and-paste train wreck
style is what comprises Girl Talk’s debut release Secret Diary (Illegal Art,
2002). He also developed the initial incarnation of his self-proclaimed “over
the top” live show during this era, complete with synchronized dance squads,
outfit changes, and plenty of crowd interaction/participation. These flashy
performances were a response to the increasingly widespread
laptop shows.

On his sophomore release Unstoppable (Illegal Art, 2004), Girl Talk took a step
away from the DSP/noise of his first release and instead fixated on tightly
edited beats and melodies with pop music hooks and samples. As described by Adam
Strohm of Dusted Magazine, “Gillis proves to be a masterful arranger of samples;
there always seem to be a million things happening at once, and every little
snippet of sound seems to be perfectly in place. Gillis warps the pitch and
speed of the original sound source when needed, and adds his own IDM beats and
squiggles, but the samples he uses are every track’s main ingredient and,
subsequently, the decisive stars of Unstoppable.” With a growing fan base,
Gillis began to work crowds into a frenzy at venues ranging from rowdy college
house parties to art museums to dive bars with rock bands.

For his latest album, Night Ripper, Gillis has developed a style strictly for
the dance floor. Pounding beats are mixed with an endless flow of familiar Top
40 samples. Gillis currently lives in Pittsburgh and actively participates and
collaborates with other “on the verge” Midwest and East coast artists such as
Grand Buffet (Fighting), Drop the Lime (Tigerbeat6), Chris Glover (Interscope),
and Hearts of Darknesses (Schematic/Asphodel). Gregg also tours regularly, which
has included previous performances in Europe and Japan. He has done shows with a
variety of artists such as Prefuse 73, Wesley Willis, Soft Pink Truth, Wolf
Eyes, Luke Vibert, Japanther, Cex, and Otto Von Schirach.

As Night Ripper samples some rather current hits, it is being released
immediately upon completion on the Illegal Art website (before it officially
hits retail). Illegal Art is also launching an exclusive digital download club
that will feature post-Night Ripper tracks, further shortening the turnaround of
Girl Talk’s super-current sampling habits. Other sonic outlaws, such as The
Evolution Control Committee, will likewise be contributing sample-heavy mixes to
the download club.

Besides releasing albums on Illegal Art, Girl Talk has issued a 12″ on 12
Apostles (UK), a 7″ on 333 Recordings (Deerhoof, Drop the Lime, Sagan, etc.) and
appeared on various compilations. One noted compilation was Spasticated Record’s
Ministry of Shit (2003), which was quickly litigated for its mockery of the
trendy UK danceclub, Ministry of Sound.

Night Ripper has already been ruled “infringement” by a CD manufacturer who
refused to complete the project. The label took a partial refund and is now
using a different manufacturer. No disrespect is intended, though, as the liner
notes contain a thank you list of 164 artists who “contributed” to what is
easily the most comprehensive and exhaustive mix-type album ever made.

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IKE YARD – 1980-82 Collected
CD Acute ACU8
Streetdate: August 22

Influenced by their punk upbringing, avant-garde schooling, and no wave
surroundings in early  80s NYC, Ike Yard managed to create a new sound by also
tapping into equal parts the krautrock  experimentation of Can, the Neue
Deutsche Welle of DAF and the UK post-punk dub of PiL and Joy Division. This
combination helped them to create sounds and songs unique enough to catch the
attention of Factory Records, who made them their first American signing.

What really set Ike Yard apart were their cutting edge techniques. The mixing
board and effects processors were as important as the bass, synth or occasional
guitar, giving Ike Yard an aggressive and propulsive sound, where drum machines
beat against the sound of scrap metal and angular guitar slashes dart through
arpeggiated synth patterns. Acute Records release of “1980-82-Collected”
collects, for the first time, Ike Yard’s two releases (their Factory LP and an
EP for Les Disques du Crepuscule) plus several previously unreleased tracks.

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ORLA WREN – Butterfly Wings Make
CD/LP Expanding Records ecd25/eva17
Streetdate: August 28

‘Butterfly wings make’ is the debut album by Tui as Orla Wren Tui comes from the
north of england and travels Scotland and the area in his van selling his
photographs and making music. His photos are of nature in microcosm, macro shots
of plants and organic life. When he is not taking or selling his pictures he
holes up in his cottage in the highlands and makes music, the process he uses
for his music reflects the one he uses for his pictures, traditional
instruments, and found organic and acoustic sounds are manipulated into
beautiful melodic abstractions. The music also clearly reflects his environment,
it is the essense of a summers day lying in a field surrounded by only the the
sound of insects and a gentle breeze but also that of sheltering from rain under
canvas or being caught in a thunderstorm, a soundtrack that touches both head
and heart.

“a genuinely heartfelt album that?s obviously been put together with a great
deal of love and attention…a work of manifold pleasures and hidden secrets” –

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CDep Crouton crou031

A sensible combination, brought to light by a chance contact resulting in a
fairly lengthy process of recording, listening, and mixing.  Robert Hampson, is,
of course, the visionary behind sound behemoths LOOP and MAIN, and even served a
highly productive position within GODFLESH, ORGANUM, and also collaborated with
JIM O’ ROURKE. Steven Hess is a percussionist who provides comfortably obscure
rhythms and textures for PAN AMERICAN, FESSENDEN, ON, and HAPTIC.

Together, Hampson and Hess create a delightful peephole into the space where
resonance from various percussions exist. These are the indirect moments that
are just as real as those obvious times when a drummer nails the snare drum in
4/4 time. This is the stuff that for without, the attack, the beat, the
percussion itself, would be lifeless pricks of meaningless sound.  These
recordings are filled with the active and excited ghost of interaction with
material; highly unreal at times, and undeniably human at others. For those
familiar with their previous endeavors, this is certain to please. For others,
you are about to hear the collaboration of two people who know exactly what they
are doing, and have created an even more powerful joined effort. Clearly tasty.

Released in an edition of 500, packaged in mulitple layers of clear material.

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CD Korm Plastics KP 3026

Bringing Audiotoop back home. That is what this book is about. Audiotoop is not
‘just’ a live event, held in a particular place at a given time. That’s only one
half of the story. The book is the other half. As much as Audiotoop is not a
radioplay, it’s not ‘just’ an event either. Audiotoop is like a biotop: it’s an
environment, completly packed with colours, sounds, people, and installations
full of possibillities. That makes up the story that is brought to you.

Right from the start, early 2005, Audiotoop is a live event with radioplays,
closely-linked artforms and a cd/book. Early 2005 we invited various artists to
present some form of radioplay, to be brought in a live context. How this is to
be done, is up to the artists, but the visual element is to be reduced, not to
be ignored.

On a given night, we see for instance a table filled with turntables, childrens
toys, flutes, violin, drums, effects. Or the findings of a scrap yard. People
dressed up like english teachers. For instance. All to make the illusive sounds
to create a world around the story. One or more persons sitting behind and
telling a story, because it’s the story that matters. Sometimes the audience
plays the (in-)voluntary role, taking part in a never practised dramatic murder
play. Sometimes the stories are illuminated by singing, drawings or simply a
powerpoint presentation.

To expand on the idea of stories, several installations were presented, such as
the abstract band of Freek Lomme: ‘bass, bass, drums, bass, guitar, bass’.
Perhaps without the involvement of any living person, such as the mummified
drums, complete with dancing nails and hair, as presented by Quinten Dierick.
Extrapool becoming the biotop of Audiotoop when it all turned black and white,
complete with noise and fluorescent paint.

All gone and not to be repeated. The book is the same biotop: it presents an
environment of it’s own. With it’s studioversions, live registrations and
especially designed artworks and texts. A big ‘thanks’ to everyone who
participated and for now: open the environment, step in and enjoy.

This book (17×19 cm) has 28 pages, printed in full color by Knust, of texts and
collages by the various artists. The CD has eleven tracks by JANA & BERTIN, JAN
WIND & TAMAR FRANK and VERNON & BURNS. Texts in English, German and Dutch and
sometimes even no text.

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CD Bip Hop bleep32
Streetdate: September 11

79 minutes which illustrate perfectly the contemporary alliance of acoustic
instruments and digital technologies in music

MURCOF works primarily with orchestral samples, processing the sound sources
into new textures and fusing them with microscopic sounds and rhythms. His music
is published on Leaf records.

TENNIS is the occasional project of Ben Edwards (Benge) and Douglas Benford
(si-cut.db). Their music is an amalgam of miniature rhythmic sounds and
digitized processing.

MITCHELL AKIYAMA is a Montreal based composer, interested in unconventional ways
of playing conventional instruments. He has recorded for Sub Rosa, Raster-
Noton, Substractif, Staalplaat, and several others…

MINAMO is an electro-acoustic quartet from Tokyo, they have released music for
12K, Apestaartje, Cubic…

TU M’ is a duo from central Italy, who chose their name from Marcel Duchamp’s
last painting. They have released records on labels such as Dekorder, Phthalo,
ERS/Staalplaat, Fallt…

STRINGS OF CONSCIOUSNESS work on musical motifs that can evoke at times a
stormy, cinematic, or contemporary atmosphere.

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2CD Planet Mu ZIQ100

Planet Mu present their 100th release “Sacred Symbols Of Mu”. In the past 3
years since their last compilation “Chidren Of Mu”, Planet Mu have become one of
the most forward looking, respected & risk-taking electronic labels worldwide
pushing forward as never before. Here they present a snapshot of where they are
in 2006. 24 exclusive tracks over 2 cds at a mid price. Featuring exclusives
from stalwarts Jega, Venetian Snares, µ-Ziq, Luke Vibert, Shitmat Leafcutter
John and Dykehouse as well as the new breed – Vex’d, Pinch, Distance, Boxcutter
& Breakage etc. Also new signings such as Tom Burbank, 0=0 and Mileece feature.

Planet Mu will also be celebrating this release with another of their amazing
Amµnition parties at the Electrowerkz on 23rd June featuring many of their
artists. These are cds ideal for journeys, home listening, housework or parties!
(And everything in between) Enjoy.

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CD Crónica 025

In the artist’s own words, Flow is an exercice of confrontation, a placing in
context between voice and computer, all the idiosyncrasies of bare-naked human
expression, altered, expanded and processed beyond its own flesh and blood. It
also stages the possibilities and the impossibilities of relationships, or at
least tries to pose some questions about the construction of our identity as a
permanent conversation with others, through emotions that flow from rational
collaborations in this record, with the beautiful and unsettling voice of Filipa
Hora and the guitars of João Hora and Emídio Buchinho. It’s a “go with the
flow”, a journey with people, through light and darkness, together in an endless
existential dive.

“The voice of Filipa Hora is heard saying… I think this is so dangerous, this
intimacy, i think… i think you’re getting so close, I think I’m gonna have to
stop you from getting closer. I think I cannot get so close and thenŠ not be
close, I think I’m close… I think I don’t want not to be close…”

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More sun!


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