Products tagged with 'Vinyl LP'

Graveyards is Ben Hall on percussion, Hans Buetow on cello, John Olson on saxophone and electronics, and Coccyx on reeds. Cinders is based around high, metallic drones, with bowed and scraped cymbals, generating a metallic / electric cloud cover that attracts lightning strikes of phantom saxophone articulation, desolate breath storms and percussion and hallucinatory, held tones. Psychedelic and brain re-arranging. Silkscreened jackets. Artwork by Wouter Vanhaelemeesch. Sergeant Massacre.

“Kill the Self That Wants to Kill Yourself” is the debut full-length vinyl LP from Diamond Terrifier, the solo sax and electronics project of New York-based Sam Hillmer (from avant-rockers Zs et al). Infinite Limits has been championing Diamond Terrifier since the release of the project’s earliest (and very limited) tape titles on the Sockets Records and Words+Dreams labels (both still available at Infinite Limits, by the way). “Kill the Self That Wants to Kill Yourself” easily surpasses those exceptional early tape titles, opening-up a new chapter of possibilities along the way. Hillmer’s more meditative sax works are discernible on the LP but this full-length is dominated by the way he juxtaposes his wilder free-jazz-based noise with melodic and harmonic sound structures, as well as some riffs that touch R’n’B territory. Hillmer stretches his sax and equipment (including harmonizer pedals and synthesiser) to extreme margins, allowing him to entirely discard the shackles of convention. On the album’s opening (titular) track, “Kill the Self That Wants to Kill Yourself”, Hillmer’s scratching and screeching sax chords rip free and float with grace and power, seeming to startle a passing backdrop of ambient melody. The flip-side opens with “Becoming An Object”, a set of haunting, alien-style atmospherics. Both sides feature a ton of apparent contrasts that initially appear on course to collide like juggernauts but which Hillmer skilfully guides towards some kind of harmony. The sense of joy that Hillmer seems to take from this project is palpable throughout the LP, whilst “Transference Trance” shows an apparently playful side to his character. This is a singular, stunning LP that clearly marks the Diamond Terrifier project’s strongest expression to date. Produced by Chris Taylor (Grizzly Bear) and released on the Northern Spy Records label.

“Convergence was formed in 1976 as an appendage to the Humber College Ensemble for Experimental Music. “Written” music for this ensemble was scarce and consequently improvisational sessions became more frequent. About this time, the Music Gallery had been expanding to allow many new groups the opportunity of performing. I then decided to take a core of the most interested students and give a concert at the Gallery. Our first few concerts had a somewhat haphazard and random mix of students, some of whom didn’t quite get the notion of free improv. Eventually I decided on a quintet with the best of the student improvisers. I also felt that a quintet was ideal for this idiom. I never really concerned myself with what instruments they played, but rather the spirit and creativity they had toward rehearsing and performing. So Convergence's instrumentation became trumpet, trombone, piano, and percussion (including home-made instruments and toy instruments). It remained that way until we disbanded around 1980. Convergence's sound is a zone somewhere between the boundaries of avant-garde jazz and free-form contemporary classical music” (MSH). This record was recorded Live at the Music Gallery Sept 18, 1979. Mastered and sequenced by Michael S. Horwood. Record jacket is screenprinted with 4 colours, with a 2-colour spine and 2 inserts. Beniffer (Benniffer) Editions.

Ensemble Economique is Brian Pyle (Starving Weirdos). Standing Still, Facing Forward is Ensemble Economique's first LP release, part of the Amish Records label's Required Wreckers series, fusing sounds, field recordings, and studio-created music and noise. HIGHLY RECOMMENDED.

Originally released as a cassette on the cryptic Austrian tape label, Nekrophile, in 1983, this simplistic experimental recording was an industrial classic ahead of it’s time. Recorded in 1981 in the Hackney bedroom of Genesis P-Orridge, who at this point was romping through his final months in seminal industrial act Throbbing Gristle. Done as a spur of the ‘improvisational’ moment, Genesis was accompanied by then TG documentarian Stan Bingo (a.k.a. director Dan Landin) to try out some new equipment and spun into a unplanned composition. This original recording, due to the scarcity of its original format was somewhat forgotten, only to be coveted by collectors. This vinyl LP is an authorized reissue by both artists and limited to 500 copies. Dais Records.