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Dense News 099. Click For Infos.

Hallo & welcome to our news 099.
CEM GÜNEY – Praxis CD Cronica
ECHOKRANK – Echokrank LP Gagarin
ERGO PHIZMIZ – Made in the…/Eloise My Dolly LP Gagarin
FUCK BUTTONS – Colours Move 12″/Digital, ATP/R
JOHN R. CARLSON – Recollections 3″CD Parvoart
LEHN/SCHMICKLER – Kölner Kranz LP A-Musik
LEHN/SCHMICKLER – Navigation In Hypertext CD A-Musik
MICHAEL SANTOS – The Happy Error CD Baskaru
MYRA DAVIES – Cities and Girls CD Moabit
OMIT – Interceptor 2CD The Helen Scarsdale Agency
PETER REHBERG – Work For GV 2004-2008 CD Editions Mego
PIT ER PAT – High Time CD Thrill Jockey
SUNKEN FOAL – Fallen Arches 2LP/CD Planet Mu
V.A./VICKI BENNETT – Smiling Through My Teeth CD+book SAN
VAN DER PAPEN – Majestic 3″CD Parvoart
CEM GÜNEY – Praxis
CD Crónica 034
A Phonetics Theme is an algorithmic composition, essentially composed with the intention to have any kind of appropriate media accompany it. It makes the use of African phonemes and words to tell a story. The story is dedicated to Sound Art.

base, matters, writing, besos, to gather, base, quality, sound, knead it, to pick up, beat, feal, beat, put into, twelve, cymbals, to dig, beat, si, rump, to grind fine, to beat, era, calling, strike, ear, take it, piece, to dance, field, festival, to spit out, beat, play music, push into, confusion [?], to descend, sound

Behold Now Bhikkus, The Sounds of Nada Yoga Nada Yoga means ‘union through sound’. It is the ancient spiritual art and science of inner transformation through sound and tone. Meditation on sound is one universal path to Self Realization, accessible to anyone, and appropriate for people of any religion.

Our mind easily becomes absorbed in sound. This is why we all-even infants and animals-enjoy listening to music. When the mind is fully concentrated on anything there arises a feeling of inner bliss. In Nada Yoga, we learn that the source of the sound may be external or internal. The sound may be gross or subtle. That is, it maybe ‘struck’ out loud (SA: ‘ahat’), as from a voice or musical instrument; or ‘unstruck’ and outwardly silent (SA: ‘anahat’), arising inwardly as from the subtle currents of energy or prana moving throughout the body.

With practice, concentration on carefully selected outer or ‘struck’ sounds will enable the mind to become calm and transparent. At this point you may begin to become aware of the subtle inner ‘unstruck’ sounds. You might perceive inner sounds that seem like bells, or flutes, or even a hum like an electrical transformer. Some of these sounds are actually just the sounds of your own body: blood pumping, or the electrical energy of nerves and inner ear. Other, deeper, sounds are the ‘sounds behind the audible sound’. It is into this deeper realm that Nada Yoga can take you.

One of the techniques used to practice Nada Yoga is ‘toning’. Toning is the creation of extended vocal sounds on a single vowel in order to experience the sound and its effects in other parts of the body. No melody, no words, no rhythm, and no harmony – just the sound of the vibrating breath.

There are many vowel sounds in the human language. As for the application of ‘Behold Now Bhikkus, The Sounds of Nada Yoga’, I focused on several principal sounds and their combinations.

Vowels-Possible Attributes or Related Perceptions,
* UU (‘who’): awareness of physicality, sensation of depth; base of spine
* OH (‘go’): individuality, conscious self-image; solar plexus
* AH (‘car’): centering, expanding, pleasant heartfelt emotions; heart area
* EE (‘knee’): energizing, awakening; head
* MM (humming, lips closed): balancing, harmonizing and integrating; the subtlest and most powerfull sound
Order of Applied Vowel Combinations,
* uu-ah-ee-mm
* uh-oh-ah-uu
Cem Güney: Laptop, live electronics, field recording & radio. All tracks composed, in the years of late 2006 to 2008.
An Ascription to Praxis
I am beholden to the harmoniousness of two essential properties that maintains the forcefullness of a cognition space. One, is a time-space continuum, stable in manner, having control over the undesired effects of duality and two, the synesthetic response, enrichining the transmutations from the abstract to the concrete. Synesthetic responses, via the many influences of sound contributes much as a motivational factor, and without the negative effects of duality-distractions so to speak-fluid impromtu motions (the essence of creation) can build up to constitute a language that becomes the basis of form.
Praxis, is the experimentations of the various emergent forms, and its application into the concrete.
Cem Güney
Cem Güney was born in Turkey in 1973. Influenced by jazz music, he taught himself to play the trumpet, and later attended the College of San Mateo’s Music Department in San Mateo, California. As a DJ (since 1994), and also during his years playing the trumpet, his interaction with music has mostly been with the experimental forms of expression. Over the past few years, this interaction has led him to manipulate sound and to work in the field of Sound Art.
“My point of departure is a horizontal approach to composition, which facilitates my mindset, before the various stages of implementation that leads to creation. This sense of direction and the related awareness enables a plane that is wide-open for endless prospects. I think that a language, parallel to this plane is a flexible one that I can improve via the many influences the world of sound has to offer. When the structure of this language becomes individual in form, than there comes about the true pleasure of organizing sound”.
ECHOKRANK – Echokrank
LP Gagarin Records GR2022
Our recommendation for the hearing impaired: ECHOKRANK.
Ear drum piercer Brezel Göring and thrash lout “Hotleg” have committed themselves to a reckless and impulsive mix of Dub-Psycho-Speed-New Wave, action film soundtracks and 50’s Musique Concrète. For several years, these two desperados have hacked their way through the unpredictable weeping fistulas of post-industrial easy listening. In doing so they combine genre-spanning arranged marriages and acceleration of track playback speed. The music is played on children’s toys and fleamarket trash. Consequently their more or less ordered noises, erratic arrangements and bizarre sequences mutate into an amorphous Gesamtkunstwerk.
Brezel Göring’s 2003 debut on Gagarin Records caused high blood pressure among intransigent fans. His hit “Geliebt und doch nicht gefeuert” (Loved yet not fired) was released as a 12 inch on the Belgian label “Surprise” and defiled with dance exercise remixes.
ECHOKRANK shine a light on the ugly side of the entertainment industry, getting moody people in the mood. The declared goal of this music is to bring chaos to order. It is an official tribute to the irregular, the classic freakout: sound tremors don’t rebel against the lack of innovation but against the audio events themselves. If it’s true that today’s defects will be tomorrow’s successes, then these are the defective hotshots of tomorrow. Always too much and never enough, going over the top, no matter how far, reducing to the max: these foundations make or break the whole affaire. It is magnificent that such a record is released in an era that generally lacks beauty, elegance and grace.
ECHOKRANK raise ambiguity to an art form. The songs meander, and consciously induced no-win-situations arise based on the understanding that nothing is more senseless than economic competition and the bourgeois inclination to conformity. We become witnesses to an unstable whole which could perish at any time. Anti-music and gliding tones pass the deformed musical key from hand to hand, unlocking the floodgates to an inferno of irresponsibility.  The band seems to be contented: “At least this keeps the idiots away from us.”
And what remains? – our hearing suffered.
Listening is a matter of attitude.
ERGO PHIZMIZ – Made in the Monasteries of Nepal / Eloise My Dolly
LP Gagarin Records GR2021
Streetdate: August 22
Ergo Phizmiz is a true jewel in the sewers of the mind. His activities span over a wide array of forms ranging from sound installations to radio plays, plunderphonics, neo-classicism, household abstract pop, opera, deranged chanson and experimental collage. He hosts the popular weekly radio show “Phuj Phactory” on New York’s WFMU and breeds a conceptual podcast series called “Codpaste” in collaboration with his friend Vicki Bennett a.k.a. People Like Us. Recently, they put out a charming collaboration on Soleilmoon entitled “Perpetuum Mobile”.

Rumour has it that Phizmiz is able to play every existing instrument and its toy model respectively. His sleepless networking, musicality and humour have gained him many undercover fans all over the world who would immediately start a revolution of green elephants with him if it was about time. Always happy to support big-scale enterprises like this we consider it more than necessary to release this great LP on Gagarin Records which combines two completely different EPs including a green elephant in one album, hence the two titles. Let me now pass the microphone on to Ergo Phizmiz, for who could elaborate better on that than the artist himself:

“Handmade in the Monasteries of Nepal” was the slogan proudly splattered across the casing of the incense I habitually used during the process of making the music included on “Handmade in the Monasteries of Nepal”.
The entire EP was created using the sounds of my own mouth, because somebody had chopped-up all my instruments and used them to heat their sauna for a year. Almost all the words are stolen from various sources, because I lacked literary imagination. Included are lyrics from lady’s magazines, Alfred Jarry, William Blake, and classic 90’s pop. The exception is “Green Elephant”, which is a nonsense poem I wrote as a teenager. And I still haven’t recovered.

The idea of “Eloise My Dolly” was fuelled my a lifelong infatuation with the girl in Chitty-Chitty-Bang-Bang when she disguises herself as a mechanical doll and dances for the Baron. The gross result was that for most of my life I wanted to be Dick Van Dyke, the net result was this audio-operetta.
Scored for toys, wind-organs, banjos, and other objects fashioned of wood, I lasciviously peered into the peephole and looked what came out. Additionally I was very happy to return to this barmy-operetta format, which I’d originally endeavoured throughout my teenage years to produce, resulting in fifteen of the wailing bastards. Since the creation of Eloise none of my family will speak to me, and all of my instruments have been taken away – which leaves only the option of making another “Handmade in the Monasteries of Nepal”.
I no longer want to be Dick Van Dyke, but I wouldn’t mind his dancing shoes.
FUCK BUTTONS – Colours Move
12″/Digital, ATP Recordings ATPRSP05
Streetdate: September 8
“Like Listening to Fripp and Eno in 1973 through a pair of massive speakers that have been slashed with a carving knife” – Andrew Weatherall
Fuck Buttons was conceived by Andrew Hung & Benjamin John Power in the winter of 2004. With their electric live performances sealing the notion that the two Fuck Buttons are attempting some kind of transcendence between the listener and the Universe itself, one could easily envisage one’s psyches being shaken by the very rumbles of the earth’s motions.
March 2008 saw the release of their debut album Street Horrrsing, which received widespread acclaim from publications as diverse as NME (8/10), Pitchfork (Best New Music, 8.6), Kerrang (4/5), Uncut (4/5), Mojo (4/5), Stereogum (8/10), The Wire, Time Out and many more on a worldwide basis.
This year so far the band have gone from strength to strength touring extensively in the UK and US and at numerous festivals including ATP vs Pitchfork, Summer Sundae, Primavera Sound, Green Man, Lowlands, Roskilde, Supersonic and Pukkelpop.
They are about to embark on a tour supporting Mogwai in the UK and US, and play headlining shows in Japan.
Sweet Love for Planet Earth appears here mixed by ANDREW WEATHERALL who perhaps first came to prominence through his remixes of The Happy Mondays, New Order, My Bloody Valentine and Primal Scream in the early 1990s. Andrew is a highly respected DJ and record producer, (examples of his production can be found on Primal Scream Screamadelica and Beth Orton’s Trailer Park), and also a self proclaimed Fuck Buttons Fan!
JOHN R. CARLSON – Recollections
3″CD Parvoart parvo 003
‘recollections’, john r carlson’s second EP for [ parvoart ] recordings is not a logical, but instead emotional extension to his critically well-received debut ‘in november’. once again john has recorded live without overdubs or edits, five of what he terms his ‘instant compositions’ on his 1903 bechstein C grand piano. thematically, as the EP and song titles suggest, his search for truth and authenticity this time explores the realm of memory and the wistful melancholy of moments gone but still cherished, without descending into bland cliché. although harmonically tonal, the ebb and flow of these tracks always allows for surprising melodic developments, balancing a restless yearning for new expression with a sense of space and simplicity that allows the listener to absorb the music without being overwhelmed.
where ‘recollections’ departs from its predecessor is that it is the work of not one but two musicians, with two tracks featuring the drumming skills of oliver sonntag. oliver, a graduate of the london guildhall school of music is an award winning (jazz/rock) drummer and producer has worked with john for over 12 years in the broadest range of line-ups and musical directions imaginable. their long acquaintance is reflected in the flow and development on ’recollections’, sharing the pulse with a singular understanding of the moment. oli doesn’t seek to provide a propulsive rhythmic backbone to the compositions (the dresden dolls or white stripes this is not), but instead a wash of colour and texture reminiscent of audun kleive’s work with arve henriksen a few years back.

apropos henriksen – or more specifically his impro unit supersilent – john and oliver commenced the recordings on a brilliantly sunny afternoon last june without prior consultation and planning (like the norwegian quartet), or resorting to cuts or second takes. the drums and piano shared the same room and space with no headphones or amplification. close listening will reveal oli’s breathing and handling of his percussion instruments and john walking to the piano and placing his foot on the pedal prior to commencing. short of the having been there personally, the listener will not get a more honest experience of the session.
as always, the EP is limited to 50 available directly from the label, via myspace or from minimamedia in berlin or microsuoni in italy. a free accompanying track for download will be available at and shortly.
LEHN/SCHMICKLER – Kölner Kranz LP A-Musik
LEHN/SCHMICKLER – Navigation In Hypertext CD A-Musik
THOMAS LEHN and MARCUS SCHMICKLER are both well-known electroacoustic musicians from Cologne, but they come from very different backgrounds: Lehn is from the world of improvisation, while Schmickler’s work lies predominantly in the world of composition and studio production. Lehn is best known for the projects Tom and Gerry, Konk Pack and e-rax, as well as for his consistently superb performances on the European festival circuit. Schmickler has been involved with numerous projects, including the seminal collective Kontakta. As a solo artist, Schmickler has created important works such as Wabi Sabi and Param as well as Altars of Science. In December of 1998, Schmickler joined the MIMEO, of which Lehn was already a member, and the two began to collaborate occasionally outside the ensemble.
Lehn/Schmickler’s first recording BART is considered one of the best synth improv albums ever made. Since BART, dating back to 2000, the duo has toured frequently through Europe, Japan and the USA. This new double-release, features some of the best performances the two recorded over the course of 15 live concerts. As a brilliant amalgam of the two musicians’ strengths, these two documents Navigation im Hypertext and Kölner Kranz utilize both improvisation and studio postproduction techniques to create a lasting work, combining the feel of classic composed electronic music with the raw, crackling energy of a free improv session. Exciting and destabilizing, Navigation im Hypertext will surprise even the most hardcore Lehn fan: intertwined with Schmickler’s, his art never sounded this rich. If anything, Navigation im Hypertext takes electronic improvisation one step further. The arrangements range from softer cluster’s of sound to more harsh and abrasive movements. Kölner Kranz sees a return to a thick molasses of digital smears welded to an ever-present system that unfolds over a staggering 36 minutes which, despite its sheer length, never rests. This music is really quite dense and difficult, heavy on detailing and spontaneity, which means that listening to these tracks takes some effort to get through. Tones cascade in waves over bitmapped crackles as Lehn/ Schmickler add layer after layer of events into a seductive audio landscape. Bewilderingly acute and brilliantly played, these two releases are compulsory listening for those interested in the state of modern electronics.
MICHAEL SANTOS – The Happy Error
CD Baskaru karu:11
Streetdate: September 26
With Michael Santos, happiness is just an error away
UK electronic artist Michael Santos releases his first widely distributed, commercially available album. The Happy Error features 11 tracks of soft sonic textures articulated over subtle chords and harmonic changes. The music on The Happy Error is resolutely cinematic, without falling for the usual trappings of the genre. The album offers songs without words in which digital glitches and computer filters replace vocals, bringing in a different kind of warmth.
Even though he mostly works with computers, Michael Santos is more of a musician than an experimental sound artist. Most of his melodic material he draws from guitars and sine waves. To this material he imposes software-based manipulations, making sure to integrate along the way the ìaccidentsî that are unavoidable with digital treatments.
The Happy Error is Michael Santosís first album to be pressed on regular compact disc, with commercial distribution. He has released two prior albums, Matters (Benbecula, 2006) and Soft Pocket (U-Cover, 2007), both as very limited CD-r editions. His compositions have also appeared on compilations curated by the labels Benbecula, Miso, and Audiobulb.
The webzine Touching Extremes puts Michael Santos “among the most noteworthy young electronic composers in recent years, one of those artists who exploit every creative germ until it becomes a fully developed virus of aural pleasure.”
The Happy Error is being released by the French independent label Baskaru. Baskaru publishes only a few carefully-selected releases each year. Its previous productions (including albums by Yoshio Machida, Lawrence English, Maurizio Bianchi, GoGooo, ENT, and Urkuma) have established uncanny artistic and visual standards, by which this new opus fully abides.
MYRA DAVIES – Cities and Girls
CD/Digital, Moabit 17
Streetdate: September 26
1. BURROUGHS’ BUNKER Music by Gudrun Gut 4:22
2. MY FRIEND SHERRY Music by Gudrun Gut 4:16
3. RAIN Music by Gudrun Gut 4:12
4. STUFF Music by A. Hacke & Piciotto 6:49
5. HANOI Music by Beate Bartel 4:08
6. QATAR Music by Gudrun Gut 5:10
7. DRILL Music by Gudrun Gut 5:27
8. WORM Music by Gudrun Gut 5:27
9. CALGARY Prod. G. Gut 2:55
10. GOODBYE BELFAST Music by Gudrun Gut 6:24
Canadian spoken word artist Myra Davies is back with her new album CITIES & GIRLS, a fresh collection of witty stories. As with their MIASMA trilogy, Davies’ stories have been set to music by Gudrun Gut, whose own solo album I Put A Records On came out last year, as well as Beate Bartel and the team of Danielle de Picciotto / Alexander Hacke – who provide the musical accompaniment on two tracks. Berlin Electronica is the warp in which Davies weaves reportage on global life in the early 21st century. Cities and Girls are prevalent themes. “The city is our social heart and creative core” Davies says. That sounds odd coming from an artist who lives in The Rocky Mountains. “I see cities with fresh eyes,” she says. “Look around. This is a great time for cities.” And Girls? “I was a girl once myself. It’s fun but not easy. Wherever I am, I tend to notice how girls are handling the challenge. My friend Sherry is a dead girl. She began haunting me in San Diego when I was first exposed to the new anti-abortion campaign.” There are several dead people walking in this album. “It’s good karma to give some air time to the past and gone.”
The stories in the GIRLS & CITIES cd range widely in time and space. For the composers, the challenge was to find musical ideas that support specific story settings and also ground the track in the album as a whole.
As a taster to the new Myra Davies album, CITIES & GIRLS, we have a 4 track online only EP, THE GIRL SUITE, coming out in August 2008.
The album opens with BURROUGH’S BUNKER, a tale of what can happen on a night out in New York City when you don’t know your host is legendary New York poet John Giorno and you’re hanging in William G Burrough’s inner circle.
MY FRIEND SHERRY looks back to the early 60s. Pigtails, pop songs and no legal abortion; Gut and Davies use a 50s pop song format to tell a true story of how it was then and could be again. This is a powerful response to the campaign to limit women’s right to legal abortions.
RAIN is an impressionist audio picture. It could be any city. In fact, it’s Berlin.
STUFF is a comic riff on our attraction to Stuff and how to use landfills to resist it, with music by Danielle de Picciotto and Alexander Hacke (Einstürzende Neutbauten).
Beate Bartel (Mania D., Liasons Dangereuses) created the music for HANOI – a good place to hang and smell the coffee. Bartel’s music features the evocative sound of a single string Vietnamese instrument, the Dan Bau.
QATAR is a slow groove track about Doha’s lively City Centre Mall and the fabulous flowing fashions of the Qatari women who hang there.
DRILL puts a spin on the idea that a girl had best get herself a drill at the start or she’ll be mewing for favours for life.
WORM. This cinematic trip starts with an earthworm; cut to horse’s mouth, erotic suggestion, battleship, gay guy, Italian sailors, Jean Genet, Jeanne Moreau. Circle back to worm. Life’s a cycle and the parts all work together.
The penultimate track, CALGARY, is a cover tribute to 2 pop artists who were hot in 1900. The poem is by Canadian/Mohawk performance poet, E Pauline Johnson (1861-1913). The melody is by American, Carrie Jacobs-Bond (1862 – 1946) who wrote hit songs. Today, Calgary (CA) is an oil capital and Europe’s cities aren’t what they were either. It’s fun to hear how Pauline Johnson compared Calgary with European cities in 1900. (Source MIDI file used with permission of The Parlor Song Association,
GOODBYE BELFAST speaks to our relationship to family history and the foreign land of grandparents. When that land is the ‘Little Piece of Heaven’ called Northern Ireland, going back to the roots was no fun-filled vacation. Gut’s music includes strains of Irish immigrant pop songs from the early 20th century and old Irish melodies including The Last Rose of Summer, recorded by Kathleen Parlow in 1912. (Samples rights free from the Canadian Govt site, “Virtual Gramophone”.)
OMIT – Interceptor
2CD The Helen Scarsdale Agency HMS 012
Omit is the nom de plume for CLINTON WILLIAMS, an electronic musician who has been quietly toiling in New Zealand for a good portion of the past two decades. His work has appeared alongside such luminaries of the NZ free noise community as Birchville Cat Motel, The Dead C, Flies Inside The Sun, Dean Roberts, Surface Of The Earth, etc.; however, Omit’s home-spun constructs widely detour from the sculpted grit and mottled distortion found in the work of his countrymen and -women. In listening to his masterful Quad (a 3CD opus released in 1998 through Corpus Hermeticum), one gets the very palpable sense of an artist in a contentious argument with his own unwieldy mousetrap of tape-loops, modular electronics, effects pedals, drum machines, and the creaking sounds of his house. That internal debate with himself through his machine exudes an existential melancholy, which could be applied to any number of grander metaphors of the dependency of electronics, cybernetics, and technology upon mankind.
Interceptor is the result of an experiment whereby Williams worked with a portable studio away from his longtime home of Blenheim. He possessed two suitcases of drum machines, effects, and analog synths; and, Williams recalls being “pissed off with myself wasting time recording this stuff when I was trying to find a job.” His frustrations stripped away much of the grandiose sweeps of ambience and shadow, leaving behind a life-support system grid of overlapping, phase-shifted blip and click. An undertow of hypnotic tonalities pulls those rhythms towards a crepuscular gloom. Williams has always been at odds with his own work, yet his self-doubt continues to deliver magnificent albums which thrive in a symbiotic struggle with mechanical disintegration. Interceptor conjures the best offered by Mika Vainio, Klaus Schulze, and the Throbbing Gristle tracks authored by Chris Carter. Always the pessimist, Williams grumbles, “In many ways, it’s a document of my failure to do the most simplest things in life.” If only all of our failures could be this brilliant.
PETER REHBERG – Work For GV 2004-2008
CD Editions Mego eMEGO 092
Streetdate: October 31
All audio made by Peter Rehberg 2004-2008
For the following Gisèle Vienne productions:
‘I Apologize’ (2004)
‘Une Belle Enfant Blonde’ (2005)
‘Jerk’ (2008)
Text written and spoken by Dennis Cooper
Action on ‘Murder Version’ by Catherine Robbe-Grillet & Jonathan Capdevielle

Mastered at Piethopraxis, Köln, June 2008
Artwork by SOMA
Photos by Gisèle Vienne

Peter Rehberg’s collaboration with the Paris based puppeteer and choreographer, GISELE VIENNE began in 2001, with the production of the DACM piece ‘ShowroomDummies’, followed by ‘Stereotypie’ in 2003.
In 2004, Vienne started to direct under her own name and began to work on pieces collaborating on text with US author, Dennis Cooper. This CD is a document of selected audio parts of all Gisèle Vienne productions made between 2004 and 2008, except for the epic ‘Kindertotenlieder’, whose audio material was presented on the various KTL releases in 2006 and 2007 (eMEGO 084, eMEGO 085).
The range here is vast from the upfront noise excess of the ‘I Apologize’ (2004) tracks to the lonely synth passages which were used in ‘Une Belle Enfant Blonde’ (2005), and the sad coda used for ‘Jerk’, which began as a radio play for Radio France Culture in 2007, before being adapted for stage in 2008.
The opening ‘Murder Version’ is a version of the recording ‘Meurtre’ by Catherine Robbe-Grillet & Jonathan Capdevielle, which was released as a single sided 12″ vinyl in 2005 (UBEB 001), and is to be considered as a tribute to the Alain Robbe-Grillet film ‘Glissements progressifs du plaisir’ (1974).
Although this material was intended for consumption in a theatrical setting, it has been edited with domestic use in mind ultimately representing that the grey zone where puppetry, literature, contemporary theatre & dance, visual art, and extreme computer music meet.
Sep 24 CH ‘I Apologize’ (Gisele Vienne), L’Arsenic, Lausanne
Sep 25 CH ‘I Apologize’ (Gisele Vienne), L’Arsenic, Lausanne
Sep 27 CH ‘Kindertotenlieder’ (Gisele Vienne), ADC, Geneve
Sep 28 CH ‘Kindertotenlieder’ (Gisele Vienne), ADC, Geneve
Nov 21 FR ‘Kindertotenlieder’ (Gisele Vienne), Festival Automne en Normandie, Rouen
May 22 2009 DE ‘Kindertotenlieder’ (Gisele Vienne), Kampnagel, Hamburg
PIT ER PAT – High Time
CD Thrill Jockey thrill208
Streetdate: October 21
Thrill Jockey is pleased to announce the imminent arrival of High Time on October 21st! The new album finds Chicago’s Pit Er Pat exploring new sonic territory, pushing boundaries, and continuing to defy categorization. Fay is playing a lot more guitar, her wiry guitar lines holding down the rhythm, while Rob and Butchy are using an array of new percussive instruments, sequencers and beat making machines to supplement their already tight grooves, and in general the band has once again branched out to experiment and explore new sounds which are completely different from their previous albums yet remain undeniably Pit Er Pat.  A feat that elludes many bands. Keep an eye out for an extensive US tour in support of High Time this fall!
Pit Er Pat is FAY DAVIS-JEFFERS (vocals, piano, guitar, kalimba), ROB DORAN (bass, vocals, guitar, electronics) and BUTCHY FUEGO (drums, vocals, percussion, electronics/programming). High Time was recorded at the bands own studio, “Top Cat”, by Butchy Fuego, who has also recently recorded Soft Circle and Matteah Baim.    
From Shakey to Pyramids, from 3D Message to Feel No Pain, Pit Er Pat’s recorded output has no easily definable style. It instead represents their evolution as modern musicians, who’s affinity for pop and melody is filtered though their desire to have a truly singular voice.  Modern Music if you will. The band are clearly comfortable with the fact that this music acknowledges several, yet exists outside of any one, genres. There is a consistency in all of the recordings in that they are all unmistakably Pit Er Pat. Their musical focus remains firmly grounded in rhythm, while incorporating a strong sense of melody and harmony to dance above the complex rhythms and to stretch the layers to lofty heights. A significant difference on High Time was that because it was recorded in the band’s own studio, they could spend the natural amount of time that the songs needed to become fully realized. The additional time allowed the band to work a horn section into several songs. The horn arrangements were done by Dylan Ryan (Icy Demons, Bronze, Herculanium) while Nick Broste and Nate Lepine played trombone and flute. Pit Er Pat also employed a variety of new instruments including electric kalimba, bobo balaphone, Burmese temple gongs, agogo bells, anandolohori, cuica, timbale, conga, bongos, vibraslap, various shakers, bells, chimes, claps, and melodica to name a few. Many of these instruments are used in traditional and spiritual music. That connection with music made for escape appealed to the band who personally explore elements of spirituality, be they mystical or merely the more introspective exploration of the terrible joy of existence.  
It is important to note that whilst layered with many delicate details the record was not assembled like a collage. Pit Er Pat instead wanted to be sure to capture the energy of the performances, so little or no editing was done on the basic tracking. From song to song the album unfolds revealing many aspects of the band’s aesthetic attitude – from the raw, lively sound of “The Cairo Shuffle,” to the mellow, slinky funk of “Omen,” to the expansive swirling celebration of “The Good Morning Song.” The powerful focused energy in the music is consistent throughout. Even the more laid back grooves on songs such as “My Darkers” have this undeniable bounce to them. High Time is a perfect elixir for your Indian Summer. Its gentle and driving grooves are irresistible and its delicate layers reveal with every listen.
SUNKEN FOAL – Fallen Arches
2LP/CD Planet Mu ZIQ218
Vertrieb: Neuton, NTT
Streetdate: September 29
Dublin act Sunken Foal consists of one DUNCAN MURPHY and occasional friends and collaborators when they record or play live. Fallen Arches is their amazing debut album of intensely evocative guitar-based electronic music, with piano, strings and occasional vocals which build up and then collapse under the weight of digital rhythms that twist and turn at every juncture. Sounding not unlike an Irish Fennesz playing mandolin, these twelve organic-sounding compositions have a definite ‘plucked’ feel with the ever-present detuning adding a slight unsettling mood which feels right at home on Planet Mu. As played on Mary Anne Hobbs Radio 1 experimental show.
V.A./VICKI BENNETT – Smiling Through My Teeth
CD+booklet Sonic Arts Network
For the past seventeen years British artist VICKI BENNETT (PEOPLE LIKE US) has been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives. Using collage as her main form of expression, she creates audio recordings, films and radio shows that communicate a humorous, dark and often surreal view on life. People Like Us have previously shown work at Tate Modern, Sydney Opera House, Pompidou Centre and Sonar, and performed radio sessions for John Peel and Mixing It.
It is relatively unusual to find humour in sound art and even less has been written on the subject. The avant-garde can be a dry and humourless area (and is therefore perceived as such), both in writing and practice. It is not unusual for writers and audience alike to dismiss anything to the contrary; the catch is, humour sometimes isn’t taken seriously, although the reality is, a practitioner has to be extremely serious and accomplished in order to carry off a good piece of humorous work.
Humour and music are commonly perceived as an unlikely pair, but the removal of this expression from the pleasure and appreciation of creative art is impossible. Inflections of wit can be found in the most unlikely of places, from John Cage’s 4′ 33″ (using silence in the way Tony Hancock used dead radio air to implicate his own boredom) through to the parody of Erik Satie and Charles Ives, the metric disruptions and misquotations of John Oswald or Stock, Hausen and Walkman, and the mixing of genres by Ground Zero’s Revolutionary Pekinese Opera. The more popular end of sound manipulation is also inflected with avant-garde playfulness. For instance Carl Stalling’s cartoon music, the cut up manipulations of Spike Jones, the chaos and disorder of The Bonzo Dog Doo-Dah Band and the mash-up exploits of 2 Many DJs. Humour transcends the confines of language and metaphor, opening the receiver’s mind to new ways of experiencing art, and a comprehension of something that may previously have been obscured.
Tracks by: Spike Jones and his City Slickers, Raymond Scott, Paul Lowry, Leif Elggren & Thomas Liljenberg, Komar & Melamid and Dave Soldier, Ground Zero, John Oswald, Nurse With Wound, Runzelstirn & Gurgelstøck, Nihilist Spasm Band, Anne McGuire, Don Joyce & Wobbly, Vomit Lunchs, Rank Sinatra, DJ Carhouse & MC Hellshit, DJ Brokenwindow, Christian Marclay, Viennese Seven Singing Sisters, M.A. Numminen, Tommi Parko, Pekka Kujanpää, Justice Yeldham and the Dynamic Ribbon Device, Adach i Tomomi, Bill Morrison, Zatumba, People Like Us & Ergo Phizmiz, Christian Bok, Gwilly Edmondez, Spaz, Komar & Melamid and Dave Soldier, Xper. Xr., Richard Lair
VAN DER PAPEN – Majestic
3″CD Parvoart parvo 004
as the recent re-release of wolfgang voigt’s entire discography under his GAS moniker has once again brought home to us (as if we needed reminding) is that ambient dub techno (henceforth ‘adt’) has established itself over nearly two decades as one of the most enduring, timeless genres in electronic music. albums by the likes of rod modell, yagya and el fog to name but three have over the years brought delight to critics and fans alike while the villalobos-driven minimal juggernaut has grabbed the headlines and dominated the club PAs. having already brought you small but essential additions to the microsound and contemporary classical genres, [ parvoart ] recordings offers you a new slice of ‘adt’ in the form of the debut release from duo van der papen.

what’s particularly comforting about adt is that certain things we just love are always going to make an appearance – heaps of tape delay, hiss and vinyl crackleŠ great expanses of sonic texture, underpinned with driving sub bass grooves and subdued yet driving percussion. we’d use the ‘m’ word (m*nimal), but in the realm of techno it has lost any real meaning. anyway, as luck would have it, van der papen deliver all the above in spades over the course of three tracks – two of which are filmic epics stretching toward the ten-minute markŠ (one of those expansive glacial synths you can hear was called majestic, which summed it all up so nicely we named the EP after it.) incidentally, the word filmic is no coincidence, for half of vdp – ronald – is a great fan of soundtrack composers such as harry gregson williams and angelo badalamenti, which adds a not unpleasant twist to the standard ambient dub techno templateŠ. although it’s not the only one. let’s face it, the genre is not known for the appearance of live instrumentation, but on ‘30483’ (the figure is the number of days that elapsed between 01.01.1900 and vdp’s joint birthday… more about that on a second), the duo felt something else was needed to round the track out, and so [ parvoart ] recordings’ ‘boss’ duncan ó ceallaigh stopped by to add some hammered dulcimer – the perfect rhythmic and melodic foil to the sound- and beatscape they had created.
van der papen are brothers – twins no less (hence the common birthday) – RONALD and CHRISTOPH LONKOWSKY, and their chosen moniker for this project is more a reference to their former home street rather than anything obscure and possibly dutch. since purchasing their first computer and music software as teenagers ten years ago, they have been exploring various directions within electronic music. – (ronald with chill-out as harry b roush, christoph with raumschmiere-like noise workouts as sixpacksuicidebombers as well as djiing). their musical interests stretch however even as far as rock, with a self-released cd (co-incidentally also produced by dóc) as hardcore band ‘schafe’ under their belts. it was in the wake of that project that dóc provided the catalyst for van der papen, insofar as it was he who lent the twins copies of albums by GAS and yagya that intrigued them enough to go away and immerse themselves in this ‘new’ music and learn the craft behind it. the results have been worthwhile to say the least.

and if all that wasn’t enough, both are currently studying and ronald is also an actor… obviously these two don’t know the meaning of the word boredomŠ
the majestic EP is limited to 50 copies. an additional track recorded for the session, ‘analysis’, is also available as a free download from or
CD Planet Mu ZIQ215
Vertrieb: Neuton, NTT
Streetdate: September 29
Virus Syndicate are DJ/producer M.R.K.1 (formerly Mark One) and MCs GOLDFINGER, JSD and NIKA D – Manchester’s foremost grime crew, represeting the North-West UK scene in their inimitable style. Virus are an integral part of the UK Grime scene having played numerous Sidewinder raves and countless shows on Rinse FM and Manchester’s Unity as well as radio support from Cameo, Semtex & Mary Anne Hobbs.
Their debut album ‘The Work Related Illness’ was everything you could ask for – a cartoon gangsta movie of an album with a beginning, middle and end – all the tracks link into each other in a narrative and the entire album tells a story in the life of the Virus Syndicate!

The follow-up “Sick Pay” is more of the same with both Bhangra and Electro influences coming to the fore in tracks such as “Dippin'” And “Vibrator”.

The Taxman gets a return visit on track 2 with another tale of urban robbery and the autobiographical “Live at The Apollo” rests on a surf guitar riff that will rock any party.
10 Jahre GAGARIN Records Tour
Sep 10 DE Frankfurt/M, Mousonturm
Sep 11 DE Berlin, Festsaal Kreuzberg
Sep 12 DE Hamburg, Golden Pudel Club
Sep 13 NL Nijmegen, Extrapool
Sep 14 BE Brussels, Disco Kids @ Atomium
Sep 15 DE Mannheim, Feuerwache
European Tour with Bohren & Der Club Of Gore
Oct 15 BE Ancienne Belgique, Brussels
Oct 17 DE Gebaude 9, Koln
Oct 18 FR Nouveau Casino, Paris
Oct 19 NL Paradiso, Amsterdam
Oct 20 DE Gleis 22, Munster
Oct 21 FR La Catonnerie, Reims
Oct 22 DE Ubel & Gefahrlich, Hamburg
Oct 23 DE Festsaal Kreuzberg, Berlin
Oct 24 DE UT Connewitz, Leipzig
Oct 25 DE Scheune, Dresden
Oct 26 HU Merlin, Budapest
Oct 27 AT Arena, Vienna
Oct 28 DE Feierwerk, Munich
Oct 28 DE Manufaktur, Schorndorf
Oct 29 PL Club Firlej, Wroclaw
Oct 31 CH Bad Bonn, Dudingen
Sep 6 PL Lodz, Toya Studio
Sep 7+8 AT Vienna, Porgy & Bess
Sep 9+10 PL Lodz, ESO Members Jam Session @ Klub JazzGa
Nov 11 DE Frankfurt, German Jazz Festival
BLACK TO COMM [Dekorder]
Sep 7 UK Colour out of Space Festival, Brighton
Sep 21 NL ZXZW Festival, Tilburg
Sep 4 IT Sardinia, Sant’Anna Arresi Jazz 2008
KTL [Editions Mego]
Sep 5 NL Paradiso, Amsterdam
Sep 12 JP Earthdom, Tokyo
Oct 18 SR Dispatch Festival, Belgrade
NEMETH [Thrill Jockey]
Sep 26 NL Den Haag, Today’s Art Festival, w/ Steven Hess
Sep 27 NL Den Haag, Today’s Art Festival, w/ Steven Hess
Oct 16 SR Belgrade, Dis-Patch Festival, w/ Steven Hess & Martin Siewert
Oct 19 PL Krakow, Unsound Festival, w/ Steven Hess & Martin Siewert
Oct 31 FR Paris, Bbmix Festival
PETER REHBERG [Editions Mego]
Sep 24 CH ‘I Apologize’ (Gisele Vienne), L’Arsenic, Lausanne
Sep 25 CH ‘I Apologize’ (Gisele Vienne), L’Arsenic, Lausanne
Sep 27 CH ‘Kindertotenlieder’ (Gisele Vienne), ADC, Geneve
Sep 28 CH ‘Kindertotenlieder’ (Gisele Vienne), ADC, Geneve
Nov 21 FR ‘Kindertotenlieder’ (Gisele Vienne), Festival Automne en Normandie, Rouen
May 22 DE ‘Kindertotenlieder’ (Gisele Vienne), Kampnagel, Hamburg
PURE SOUND [Euphonium]
Oct 4 DE Freiburg, White Rabbit Club
(Harry Stafford, Vince Hunt, Boz Hayward, Rob Haynes)
RYOJI IKEDA [raster-noton]
Oct 11 FR v?l [solo exhibition], le laboratoire, paris
Oct 11 IT datamatics [ver.2.0], RomaEuropa, rome
Nov 21 FR datamatics [ver.2.0], pompidou centre, paris
Nov 22 FR datamatics [ver.2.0], pompidou centre, paris
Dec 18 FR data.tron [installation], grand palais, paris
Sep 6 CN Kluubb, Hongkong
Sep 9 CN Waterland, Beijing
Sep 11 JP Koenji High, Nakano Soup, Tokyo
Sep 15 JP Kakutanama, Kobe
Sep 16 JP Namba Bears, Osaka
Sep 17 JP Urban Guild, Kyoto
Sep 18 JP Shinjuku Urga, Tokyo
Oct 7 CH Cave 12, Geneva
Oct 8 CH Moods, Zurich
Oct 28 AT Wien Modern Festival, Noise Night at Fluc, Vienna
Oct 31 DE Sophiensaele, Berlin
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