Ben Hall's String Trio / Negatively Complicating A Procedure That Is Already Flawed / Vinyl LP / 8mm Records
Stunning new jams by Ben Hall's She Shells String Trio, the trio of Ben Hall (Graveyards), C. Spencer Yeh (Burning Star Core) and Mike Khoury. With two violins and incendiary drums, the trio create a series of dialogues which magically combine intensity and introspection, rhythm and silence, discipline and "fire". When imagination meets instinct, music is free. A rare gem, a gift by gifted musicians. Released on the 8mm Records label in a limited edition of 150 copies and housed in handmade covers."
"My Descent Into Capital" represents the most ambitious recording from this London-based duo to date. Even if they're taking influence from minimal synth, post-punk or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery. Forging together metallic drum machines, propulsive synth lines and stark guitar degradation into bold , simple and effective songs about isolation, discontentment and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future. Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity, a refusal to go away, and two well-received records on Tombed Visions, this album is their first full-length album, as-well as their first with abstract-punk imprint Harbinger Sound. Having played many shows supporting Sleaford Mods, the duo are about to embark on an extensive tour with new label mates Consumer Electronics early next year. The album was mastered by Barry Grint at Alchemy. ""
First vinyl reissue of this musique concrete classic, first released in 1963. Dutch abstract-expressionist painter Karel Appel (1921-2006), one of the founders of the avant-garde movement Cobra in 1948, logged time in the Instituut Voor Sonologie to compose music for a documentary being made on himself by cinematographer Jan Vrijman. Musique Barbare was born, released by Philips, this masterpiece of Musique Concrete is a real jewel for any record collector. Made in collaboration with the Insituut's member Frits Weiland, the result is a fantastic mix of electric organ fumblings to full-on riots of distorted kettle drum and assorted percussion-room filigree, assembled into an extremely edit-heavy suite - heavy tape-speed manipulation.
Holiday Records present a reissue of Hüseyin Ertunç Trio's Mûsikî, originally released in 1974 on Intex Records. This cosmic free jazz improvisation by this legendary trio guided by Hüseyin Ertunç - on drums - with his then-regular partners Michael Cosmic and Phil Musra - on saxophones and additional percussion - reveals the primitive and physical approach of the trio, with Ertunç's massive cymbals drumming building a carpet of trance-driving vibe where the reeds can freely dance without any structure. "A new world of improvisational freedom opened up for me when I first heard drummer Huseyin Ertunç's 1974 LP Mûsikî, with reedmen/multi-instrumentalists/brothers Phil Musra and Michael Cosmic. Ertunç returned to his native Turkey about twenty years ago (and performs with the Konstrukt collective), but Musra - this tune's composer - now resides in Los Angeles and, as regular readers of this blog know, is still active in music. Although I initially assumed that Mûsikî and Musra's companion LP The Creator Spaces (1974) were recorded at the same session, in truth Mûsikî was recorded months earlier. The Creator Spaces is a bit more spacious than Ertunç's date, though both are quite intense documents of self-produced and spiritually-directed improvisation. Knotty and weird, there's a folksy unhinged-ness that really spoke to me in a way quite different from Albert Ayler, the Association for the Advancement of Creative Musicians, and other music I was spending time with when I dropped the needle on the trio's debut album. Ertunç's percussion work really shocked me and it's still absolutely fascinating, and Cosmic's organ playing behind/around Musra's tenor is just something else." -- Clifford Allen. Edition of 400."
"Henning Christiansen (Copenhagen, 1932 - Isle of Møn, 2008) was a Danish composer and an active member of the Fluxus movement. He studied at the Royal Conservatory of Music in Copenhagen and at the more liberal Ex-School (Eks-Skolen), embracing its radical approach in study and creation of art and developing into his own musical thinking. In 1962, he attended the George Maciunass International Festspiele Neuster Musik in Wiesbaden, where he probably experienced an epiphany that caused a significant shift in his artistic practice and musical composition. Musik Essayistik is the combined reissue of twin releases Fluxid (1983) and Fluxyl (1984) - two of the most obscure and enigmatic records in Christiansens discography - previously issued separately by Borgen Records in Denmark. Four minimal pieces exploring the clash between instrumental composition-improvisation and pre-recorded real sounds. Embossed green ear on front cover; Edition of 300." - Holidays."
Gianni Giublena Rosacroce / Musica Da Camera Oscura / Vinyl LP / Holidays Records / HOL-080
Music For Private Ensemble is Sean McCann’s first new solo album since 2011’s The Capital. Demonstrating a more serious study of orchestration and timbre than his previous work; it is a big step forward. The four arrangements presented here shy away from the use of synthesizers and effects processing – instead relying on voicing and movement to actuate the album’s sentiments. Inspired by the grandiosity of John Adams, the concerned somberness of Gavin Bryars, and the guttural tape work of Fluxus artists. Private Ensemble was written, recorded, and laboriously edited over the course of 17 months, composed both traditionally as well as through the clustering and organization of improvisations. McCann played violin, viola, cello, flute, piano, glockenspiel, and percussion. He was forced to notate samples of bassoon, french horn, and timpani, as those were not available resources at the time. Taking multi-tracking to extremes, many of the pieces surpass 100 layers of instruments. However this structural depth does not lead to chaos; no sound on Private Ensemble is unintentional. The objective with the ambitious multi-tracking and precision editing was to achieve the sound of a full orchestra. The only other person appearing on the album is vocalist Kayla Cohen (Itasca), her layered singing is formed into a small choir to help conclude the record. This album reveals McCann’s most refined work to date, indicating the beginning of his transformation into a modern composer. Mastered by Helmut Erler at Dubplates & Mastering Pressed at RTI in an edition of 500 copies, with full color insert
Harold Budd, Eraldo Bernocchi / Music For Fragments From The Inside / 2 x Vinyl LP / Sub Rosa / SRV239
Olymphia / Music For A Dance Performance / Vinyl LP / Posh Isolation / Posh Isolation 155
Amazing archival retrieval (with extra material on the download) of the first release by long-running human zoo known as Sunburned. Forged in the heat of Kristin Anderson’s Charlestown loft, the group more or less descended straight from the corpse of Shit Spangled Banner, although they did not assume the band name until 1997 (two years after the first protean jams had started). The material on the album was recorded in 1997 & ’98, often deep in the grip of acid flashes, and it really shows. Over the course of their nearly two-decade lifetime, Sunburned has been many things, but it’s easy to forget how spacily jazzoid and proggily psyched-out their initial gushes were. The music here is wildly explorative and crazily inventive, sharing a clear affinity with fellow travelers No Neck Blues Band. Indeed, the second edition of the CDR of this album was created to be sold on a 1999 tour which was No Neck, John Fahey and Sunburned. One can only shudder at the mere thought. Anyway, this may well be one of the best Sunburned albums. It has a bizarre sweetness I never noticed in the band back then, because they always seemed like thugs underneath everything else. But you can really sense it here. And Rob Thomas’ excellent liner notes attest to the benign flow of their early visions. How nice to hear where this weird trip started. -Byron Coley, 2015
Graham Lambkin’s oeuvre has long explored the cracks which burnish the underside of contemporary music, poetry and visual art. His work teases the fragile threads connecting the psychotic, the absurd and the mundane; often bringing them to the point of near ruination.. Throughout his 20 year canon of published work, Lambkin has continuously played with the themes of horror in the everyday, whilst mocking the comical violence inherent in us all. Millows brings together two previously unpublished works, both dating from 2004. A series of 450 photographic combinations documenting a solitary drunken non-event and an audio work which plays out as an open-ended late night spy thriller, with all the key dialog removed.
Fossils, Darksmith / Million Year Spree / Vinyl LP / Kye / KYE014
Jo Thomas / Mermaids / Vinyl LP / Holidays Records / HOL061
Mere / Mere / Cassette / Samling Recordings / SL013
Our tenth OTOROKU release sees a return to the group that kick-started the label - the veteran German reedsman and free jazz pioneer Peter Broetzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of '…The Worse The Better' that group went on to play a series of devastating shows in Europe and to emerge as one of Broetzmann's finest working groups. Over the same period Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself on stage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Broetzmann for impact whilst the extended sustain of the vibes opens up an eerie space for some of Broetzmann's most fertile lyricism. The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention - stoking the others onwards. Broetzmann was clearly energised - I swear I saw him dancing at the side of the stage whilst exchanging a shattered reed. And for all the usual rhetoric of Free Jazz bluster and machismo, this is a meeting characterised by the joy of communal creation that makes you want to dance - even if only in your head.
"I realized at the end of the album that I didn’t want to express, I just wanted to explore". Ian William Craig is a trained opera singer and painter out of Vancouver, Canada. Over the last few years he has proved to be one of the most original artists active in the ambient / experimental genre. His debut "A Turn Of Breath" (2014) and the follow-up album “Cradle For The Wanting” (2015) received high acclaim across the globe. Meaning Turns to Whispers is a combination of piano improvisations and FM feedback loops, recorded over various winters in the period 2009-2011 and edited down / manipulated / degraded to reveal some of their hidden spaces. The discreet piano layers mixed with waves of white noise keep on intriguing and make us longing for more. Craig has been making music since 2009, when he sat at a piano and started recording improvisations. The result was Meaning Turns to Whispers, a record rooted in a gorgeous neo-classical tradition, but totally fucked up by tape manipulations that made it anything but pretty. For Craig, the use of reel-to-reels is a way of decaying sentimentality: any time his music has come too close to meeting his expectations, he’s uprooted it, creating impervious walls or bursts of modest but stupefying noise, anything that might help rewrite the truth. In choice moments on Meaning, you could hear Craig trying to imagine the lived lives of his inanimate instruments: beyond the notes he played on his piano, there was the sound it made, if only for a few seconds; when you heard him beaming down on the piano, its wooden infrastructure was revealed, and it sounded like it had its own set of motivations. “I was living with my sister in Edmonton, and during the ridiculously cold winter, I gutted her piano and mic’d it up in a whole bunch of weird ways. I recorded probably 20 hours of material, and after listening to it I was amazed at how much it sounded like sentimental crap. At that point I was really trying to express something, and afterwards I thought the only way through would be to destroy the recordings, and that’s what Meaning Turns To Whispers is. It’s completely mangled to remove that struggle for expression. I realized at the end of that album that I didn’t want to express, I just wanted to explore.” All sounds by Ian William Craig, mastered by Sean McCann at Recital, with lacquer cut by Christoph Grote-Beverborg at Dubplates & Mastering. Released on Aguirre Records in a limited edition of 500 copies."
Following the success of the two live LPs bookending Mars’ trajectory through the skies of NYC, Mark Cunningham was convinced to return to his legendary box of cassettes. Even he was surprised to discover the band’s earliest shows (done under the name China) were there, amidst a tumble of other tapes. Thus, the idea was born for a trilogy of LPs tracing Mars’ development from their first audition gig at GBGB through the shows following their Lust/Unlust EP. China to Mars is the first volume, and really displays for the first time how much the band’s earliest music was a mutated variation on some of NYC’s extant juggernauts, in particular Television and the Patti Smith Group. While their sound was clearly their own, the textures and techniques they’re using to achieve them are far less alien than they’d become. Side one was recorded at China’s audition night at CBGB in Feb. ’77, and their follow-up show in June. It’s amazing how good it sounds. And the songs are almost all unheard (apart from “Cry,” which appeared on the Anomia tape box). Even “3E” is nearly recognizable from its released version recorded the following year. The second side is from Sept. ’77, once they had started calling themselves Mars. The shuddering blocks of sound for which they are known are beginning to coalesce, and Sumner’s dark vocals are pushed to the fore. The music is stunning. You can hear the band on the very cusp of transforming itself into the group that recorded those incredible early sides. Wow, can’t wait for the next two volumes. – Byron Coley, 2015
DeTrop / Man, Woman & Beast / Cassette / House Of Alchemy / Tape / houseofalchemy#052
Since the beginning of the 80's Sandy Nys (aka Maghtea) has been involved in a million of industrial, ritual ambient, noise, wave etc solo or group projects, his main thing since some decades remains HYBRYDS, though he is one of the Belgian hometaping pioneers, alongside ClubMoral and Alain Neffe of "Insane Music". Long before Hybryds, Sandy was, like every decent human being, fucking around at home with tape loops, tandy microphones, acoustics and metals, korg ms 10 synth and korg sequencers, a ton of marantz and sanyo cassette decks! which resulted in a bunch of amazing obscure cassette releases! This lp collects 2 selections from 2 Magisch Theater cassettes from 1983, the A side is a selection from a untitled cassette and the flip has a soundtrack made for a painting exhibtion by Peter Braet. The cover photo was taken by Eric Didden for a fanzine called MAD IN BELGIUM and the back photo was taken for a news paper article on hometaping, all from Sandy's archive. this record comes with 2 inserts of the original cassette sleeves, and is limited to 250 copies only! This LP collects 2 selections from 2 Magisch Theater releases from 1983. The A side is taken from an untitled cassette. The B side contains a soundtrack made for a painting exhibtion by Peter Braet, released on a cassette titled Mr.Minimummuziek & Het Magisch Theater. Comes with 2 inserts of the original cassette sleeves and a booklet containing "a short history of the 1983 Belgian underground K7 scene" and some newspaper / magazine articles. All photo's and cover art are from Sandy Nys' archive. Limited to 250 copies. Credits: Layout – Jef Cuypers. Photography [Front Cover] – Eric Didden"
"Macro was originally going to be titled Roots, because it really goes back to what I was doing 40 years ago, just more modernized technique. I had always taken small snippets of tape and records, repeated them, slowed down, modified, and layered etc, Macro was all done on the computer. I'd been thinking about how in the old days, pop songs were always between two and three minutes long. Most of my music has always been longer extended pieces. I wanted to recreate the feel of noise in the pop song format, so I specifically created an album's worth of songs, all at exactly three minutes, a concept album I suppose. Micro samples were cut, copied, pasted, and totally whacked out. As with all of my music, I have always defied anyone to identify the samples." - Robert Turman. Limited Edition of 218, with hand silkscreened and numbered artwork."
Artist: Peter Brötzman, Bill Laswell Title: Low Life/Last Exit Format: Vinyl LP, Limited Edition, Heavyweight Vinyl, Gatefold Sleeve Label: Jazzwerkstatt Catalogue #: JW10012 Country: Germany Date Released: July 2013
AudioMER is happy to announce the release of a new LP; Lost City by Aki Onda (US/JP) with music by Loren Connors (US) and Alan Licht (US). The images were shot in New York between 2001 and 2002. It was during the time when we were still in shock from 9.11. The stars and stripes suddenly became visible everywhere in the city. Soon after, the invasion of Afghanistan started. Everybody was living under an indefinable fear - not knowing what would happen in the future. (Aki Onda). Lost City project started as a series of photographs shot by visual artist and composer Aki Onda in New York starting right after 9.11 in 2001. A decisively introspective response to the major world event taking place, his pictures were devoid of direct references, but documented his immediate surroundings, focusing on how what happened resonated on a personal micro-level. Since 2005, Onda has been presenting this series as slide projections, which function as a visual score for improvisation, and performing with NYC avant-garde musicians Loren Connors and Alan Licht. Two improvisations on this LP were recorded at Anthology Film Archives in NYC in 2007. Lost City contains the vinyl, a folded 20 x 30 inch poster with the complete photograph series and an A4 risoprinted booklet containing the accompanying text written by NYC based curator/writer Niels Van Tomme. The record's A side is a duo piece between Connors and Licht that consists of wandering, buzzing guitar drones with occasional noisy eruptions. It highlights the almost twin-like connection between the longtime collaborators, with telepathic intersecting guitar lines and a sense of unease seeping through. The B side is Connors solo and is a very lyrical and atmospheric ambient piece that is equally sparse and spacious. The LP is limited to 350 copies.
Lost At Sea imagines the Idea Fire Company as the bar band on a small cruise ship. There are approximately 40 passengers aboard. Around 2/3 of them are in the lounge for the nightly IFCO performance. Most of them seem more interested in drink than in music. The ship has become lost and seems to be endlessly circling. Well stocked with booze and food, etc., the ship continues on. IFCO, armed with only a piano and trumpet/ radio/ synth, provide the nightly entertainment. Lost At Sea is certainly the sister of the also piano-heavy The Music From The Impossible Salon, but Lost At Sea has an air of weary optimism replacing the bleak sadness of Impossible Salon. For almost 30 years IFCO has carved their own path, or dug their own hole, depending on your view, through the ever-changing world of underground music. Still violently committed to the Avant-Garde and to new forms of beauty. Still Romantic. Still idealistic. Despite the odds. In the old days, this sort of commitment was better appreciated. IFCO remains IFCO. As a number of people have said over the years, every IFCO record sounds different, but they all sound like IFCO. Edition of 400 LPs on black wax. Includes a 4″ x 6″ Postcard and a download coupon.
Stuart Chalmers / Loop Phantasy No.3 / Cassette / Beartown Records / No catalogue #
C E Schneider Topical / Look Who Showed Up Out Here / Cassette / OSR Tapes / OSR028
Chris Weisman / Living With Poison / CDr / OSR Tapes / OSR32
Junko, Michel Henritzi / Live/Dead / CDr / Les Champs Brûlent / leschampsbrulent#10
Kommissar Hjuler / Mama Bär / Ninni Morgia / Silvia Kastel / Live In Edinburgh / Vinyl LP / Ricerca Sonora
Kommissar Hjuler, Mama Bär, Ninni Morgia, Silvia Kastel / Live In Edinburgh / Vinyl LP / Ricerca Sonora / RS4
Maurizio Abate / Live From The Border / 12" Vinyl / Holidays Records / HOL 052"
Ambarchi, Campbell, Flower / Live At TUSK Festival 2013 / Vinyl LP / Tusk / TUF02
Fourth in Open Mouths "Live At......." Series Greg Kelley-trumpet Bill Nace--electric guitar "Live at Disjecta" Recorded March 9 2016 by Daniel Menche Cover art by Bill Nace Covers screened by Alan Sherry #'d edition of 300 OM#48/"Live at..."#4"
Idea Fire Company / Live Archives Volume 1 - WMUA / CDr / Lessons About History / LAH01
Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly “nihilistic” and “raw” current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, lisa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other-People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of classic band, and only one title (Crown of Thorns from January 17,1979) has been legitimately released to date, albeit in a completely different sound quality. Almost every known Teenage Jesus and the Jerks composition appears on this compendium and Ms. Lunch herself is quite satisfied that this just might be the final nail in the coffin…. If it is the sound of deliberately organized and deployed agony you are seeking, your bath has been drawn and the razor awaits. Weasel Walter, Brooklyn, NY, June 30, 2015
Ashley Paul / Line The Clouds / Vinyl LP / REL Records / REL20
Les Conversions / Les Conversions / Vinyl LP / Kelippah / KELIPPAH015
Kiyoharu Kuwayama / Ludo Mich / Wataru Kasahara / Les Archives De L'Univers Amnésique Illustré / Vinyl LP / Discombobulate
Ludo Mich, Wataru Kasahara, Kiyoharu Kuwayama / Les Archives De L'Univers Amnésique Illustré / Vinyl LP / Discombobulate / BOB002
"As reported by Stefan Neville: "Clayton CJA Noone and Jon Sugar Jon Arcus are some of my oldest and dearest friends. Ive been listening to their band Armpit pouring out infinite sweat and toe jams for 20+ years and I still cant work out what Armpit even is. They are the wrongest band Ive ever heard. We were all part of the same gang in early 1990s Hamilton, New Zealand. Armpit would always happen in rooms next door. They would keep me awake with the eternal strumming of bad guitars through bad equipment, bottles falling over, people falling over, things catching fire and always lots of giggling. I saw them play at a party once where they were too wasted to plug in their guitar pedals. They wrestled with them giggling for about ten minutes and then gave up. They didnt make a sound but its one of the greatest concerts Ive ever seen. Their recordings are always confusing. They display their deepest awful humanity and their sweet, sweet hearts, all in the same mouthful. Scorched hateful noise, incompetent absurdity, smoochy crooning folk songs with poignant words and brutal sausage fingered editing to highlight the horror and hilarity. Leisure & The Elderly was recorded in Dunedin in the mid-1990s. Jon was doing a nursing foundation course and learned to simulate giving a skinhead a sponge bath. A classmate gave him some of her tortured poetry so Armpit blended it with a nursing textbook and disappeared into the room next door to record the album in one go, ping-ponging recordings with two tape decks." It was originally released on cassette in an edition of just three copies. Edition of 300 copies in a silk-screened sleeve." - Planam."
"Lettera 22 is the duo of Matteo Castro and Riccardo Mazza, two main characters in the Italian noise and experimental scene, building incredible collages of field recordings and abused dynamics. The lucky few who attended their live set at the Dome in London for the Broken Flag 30th Anniversary - where they caused a speaker stack to fall over, almost setting fire to it - saw their potential unleashed and knows what we mean by saying that they have an incredible control of the multi-layered texture they produce. Physical Point is a perfect demonstration of this skill, where the pair builds up a simmering tension made of captured sounds and hissing tapes, keeping a grip on it with the cold blood of a snake charmer. Edition of 200 copies." -Holidays."
Debut LP of Grisha Shakhnes. Formerly operating under the name of Mites, Shakhnes has been recording and performing in Tel Avi, Israel since 2008. His work has been issued both privately in limited handmade CD-R editions, and internationally though Alamut Records (Jerusalem), Mystery Sea (Belgium), and Copy For Your Records (NYC). Consider ‘leave/trace’ a graduation ceremony, as Shakhnes steps away from pseudonymity and into the bright lights of his own exceptional music. “leave/trace” offers a compelling display of musical abstraction, blending field recordings from peculiar and mundane origins into sumptuously detailed and surreally original new forms. Shakhnes is deftly able to capture and juxtapose otherwise overlooked details of commonplace events, placing his work at the fulcrum of contemporary tape music. Never overly literal, “leave/trace” instead allows the listener to find their own way through its compositions, granting rich reward for those willing to make the journey. “This is unquestionably Grisha’s most convincing statement to date, and one which cements him in the frontline of artists to watch as the year unfolds. A fabulous LP.” - Graham Lambkin, KYE Records.
The fifth full length album by Elodie, here expanding on the first concert as a quartet given in Leuven, Belgium in November 2012 -with Tom James Scott : piano and Jean-Noel Rebilly : clarinet. “Le Manteau D’étoiles” collects ten airy instrumental spheres glowing and evaporating in a universal infinity like any moment in the panorama of everyday life. Released on Andrew Chalk’s Faraway Press label in an edition of 300 copies. The album contains a specially printed double-sided insert and postcard set, printed on 350 gramme cream paper stock. Mastering and cut by Noel Summerville at 3345 Lacquer cut, pressing on 160gramme vinyl, sleeve design and layout by Timo van Luijk, Andrew Chalk and Jos Moers. Faraway Press.
Stunning art edition 7" vinyl release by Matt Valentine and Erika Elder, with The Golden Road, on US label Medusa Editions. Edition of 150 copies, housed in handmade and screenprinted 7.25 x 7.25 x 0.25 quad foldout box designed by Jacob Horwood of Beniffer Editions."
No Neck Blues Band/ Languid Red Marchetti / Vinyl LP / Planam / planazaum
Starving Weirdos / Land Lines / Vinyl LP / Amish Records / AMI044
Another shamanic journey in Tazartès's universe. He sings and plays all the instruments and samples, recorded in the very same room as all his other solo records since 1974. Performed, produced, and recorded by Ghédalia Tazartès for Bisou in 2012. Tazartès's son, Lalo, can be heard on "Don't Cry for Me, Mamma." The front cover is a picture of Quentin Rollet, shot by Yannick Ressigeac. The back features a drawing by Lalo Tazartès. Mastered by F/Lor."
Korea Undok Group / Purple Circles / Sargasso Sea / Korea Undok Group / Vinyl LP / Penultimate Press
After a run of extremely under the radar cassette releases, Penultimate Press is proud to present the first vinyl collection of works by the Winnipeg (Canada) outfit Korea Undok Group. With more hiss than a valley of snakes the various monikers here cover the gamut of contemporary practice traversing industrial decay, rhythmic pulse onwards to piano etudes and fractured possession. All these forms come debossed with the signature destroyed tape aesthetic which makes these sharks so lonely. 180 gram vinyl on beautiful reverse board sleeve with passport style booklet all designed by KUG. This is a package that befits this unique scene of one, or many.
Dolphins Into The Future / Ke Ala Ke Kua / Cassette / Moamoo / MOAMOO#1
Stuttgart's Karies produce four new tracks of that brooding, but driving post-punk sound they're known for throughout Germany. Even though the material may reference the likes of Die Haut and the Abwarts , and even touching on The Wipers at points. Karies constantly reframe that sound and keep it very much retro free. These are the last group recordings to feature Kevin Kuhn who had to go fulltime with his other band - Die Nerven. This UK edition of the EP is housed in a gorgeous gatefold sleeve and is limited to 300 copies on Harbinger Sound. A new album will follow in the fall.