set chocha

**2018 UPDATE: repress via Musique Plastique & Séance Centre! https://www.seance-centre.com/shop/visible-cloaks-st-lp

LP/digital issue of our 2014 tape for Sun Ark, remastered with additional tracks and new artwork by Ryan Boyle.

Visible Cloaks LP on Musique Plastique (teaser)

Artist: Masayoshi Fujita & Jan Jelinek
Album Title: Schaum
Format: 12" LP/CD/DL
Label#: Faitiche13/Faitiche13cd 
Release Date: September 9th 2016

Masayoshi Fujita & Jan Jelinek: Schaum

Faitiche is very pleased to announce the release of a new album by Masayoshi Fujita & Jan Jelinek (faitiche13). Since their debut (Bird, Lake, Objects, faitiche03, 2010) they have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth, foam) is the duo’s second album.
The river, forcing its way through veins between the outposts of the forest, was a great heart. Placidly as it flowed, gently as its descent beat against its vague banks, it brought and gathered sustenance for the busily mediating humus that swelled sunwards in the strangest cell configurations, trees, plants, animals. The silence all round was uncanny and stuck on the ear. Spasmodic squelches, a gurgling in the muddy hollows of the bank beneath overhanging shagginess, the slurping of ominous cavities, that shot out now and again between the long-spun threads of time, like something detonating, testified to the steady monotony of the process. From the forest itself came a crackling rhythm. There the mighty Pan could still be heard to rumble.
from the novel Tropics by Robert Müller (translated by N. Grindell)

Dear Masayoshi Fujita,
Many thanks for the audio files. Your additional vibraphone recordings go wonderfully with the material we have already. Preparing the vibraphone with more percussion instruments was the right decision. Combined with my tightly woven synthesizer and sample loops, the result is a fragmented sense of space. I have taken the liberty of manipulating certain recordings. One might now say that our joint recordings are both a basis for further processing and new pieces in their own right.
While listening through our improvisations, I noticed a tendency towards atmospheric sounds. I am almost tempted to call them tropical. This has strengthened my resolve to work with dense background textures – among others, I’m using material produced in connection with my radio pieces Kennen Sie Otahiti? (Do you know Otahiti? SWR2, 2012) and Dialoge zur Anthropologie (Dialogs on Anthropology, SWR2, 2013): artificial field recordings, jungle and rain forest settings that do not hide their staged, fictional character. They are synthetic and speculative. As you know, I have long been obsessed with the tropics. This obsession involves a mental image of a specific quality of landscape: deliriously extravagant unstructuredness, hostile to life but also excessively productive. I am fascinated by the idea of installing clear minimalist forms amid such luxuriant tropical growth. Perhaps my image of the city of Brasilia is a good example: the utopia of elegant and ascetic modernism, surrounded by rampant vegetation. Lianas and concrete: that’s exactly how our music should be!
Corresponding to this, I would like to expand our liner notes to include a quotation from Robert Müller’s novel Tropics – an expressionist travelogue published in Germany in 1915. It goes without saying that this work cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its “master race” posturing, characteristic of that time and place, are, of course, intolerable. Please excuse my casually dismissing this, but it is not what I am interested in here. Tropics is fascinating as a nervous jungle phantasm that openly indulges in exoticism at the same time as deconstructing it. In this way, the main character’s adventure becomes a journey into the subjective. It resembles a feverish inner delirium, exposing exoticism as a simulated, utopian perspective. What it boils down to is insubstantial, nothing but foam and froth.
With best regards, Jan Jelinek, Berlin 2016

Masayoshi Fujita & Jan Jelinek: Vague, yet

Through The Looking Glass

1 Midori Takada - Mr Henri Rousseau's Dream (Reel-2-Reel to Digital conversion)

Poetry, speech, melody and electronics combine on this limited tape from new sub-label ‘Purely Physical Teeny Tapes’.

A change of pace for PP, ‘Figures’ is also a divergence for the two artists involved. Emerging from Melbourne, 'Figures' is a rare artefact for devotees of both poetry and electronic music. The release marks a protean coming together by two figures with curiosity for each other's practice, forming a union between sound and speech to explore themes of bodies, time, language and power.

Lucy Van, who works as a post-doctoral researcher in English and Theatre studies, offers her poems in spoken form and also transcribed in full for the poster in the release.

Laila Sakini, a DJ who has recently emerged as a songwriter-producer, shapes music around each poem intuitively, adding context with restraint, in an experimental, yet pop-conscious process.

Initially developed as a one track hobby project for a noise and spoken word poetry night (which was cancelled), 'Figures' continued to evolve into a more complete body of work, with Laila leaking the demos on her NTS guest slots, leading to this eventual, finalisation of an EP.

The release is presented on a pro-dubbed all clear tape, packaged with an A2 double sided fold-out newsprint poster, all housed within a PVC heat sealed pouch.

Out June 2nd, 2017.

Mastered by Rashad Becker.

Edition of 100.

Laila and Lucy:

Lucy writes about poetry and photography. She is a post-doctoral researcher in the English and Theatre Studies program at the University of Melbourne, and an editor at Cordite Poetry Review. Lucy also writes lyric and prose poems, and has spoken at venues including The Slow Canoe, Station Gallery, and the National Gallery of Victoria.

Laila's role as a DJ and emerging producer/songwriter has seen her traverse between her home town of Melbourne and London. She has performed across clubs and festivals in  Melbourne and in various venues throughout London, Paris and Belgium along with art spaces including The National Gallery of Victoria, Carriageworks and The Australian Centre for the Moving Image. She presents semi-regularly on NTS Radio, has appeared on Boiler Room and has opened for the likes of Dopplereffekt and Optimo. Laila has recently begun producing, writing and performing live solo and collaborative works.

Laila Sakini & Lucy Van - False Ceiling

Taken from the Maximum Joy compilation "I Can't Stand It Here On Quiet Nights: Singles 1981-82", forthcoming on Silent Street Records. 

Pre-order 2x12" here:
https://silentstreet.bandcamp.com/album/i-cant-stand-it-here-on-quiet-nights-singles-1981-82

Lyrics: Wrafter; Music: Maximum Joy
Produced by Dick O'Dell, John Walker, Pete Mayburn
Originally released on Y Records (12Y 11, 1981).

I Can't Stand It Here On Quiet Nights (SSR001 - Mastered WAVs)

Maximum Joy - Silent Street / Silent Dub

Marching Men

Conjoint was the little-known but highly influential ensemble founded by David Moufang (Move D) two decades ago; featuring techno pioneer Jamie Hodge, Deep Space Network’s Jonas Grossmann, acclaimed jazz guitarist Gunter Ruit Kraus and, most intriguingly - Karl Berger (Jazz Pianist and Vibraphone player for Ornette Coleman, Don Cherry and George Clinton to name but three). 'The Joint' is taken from their second album 'Earprints', released in 2000 and now re-mastered and reissued by DDS in 2018.

Earprints

Conjoint - The Joint

ALVA NOTO + RYUICHI SAKAMOTO - GLASS [N-044]

VINYL, CD, DIGITAL: http://bit.ly/N44-NOTON-SHOP

The emotional drama of the forty-five minute performance was echoed in the natural environment. A sudden rain storm forced the evening’s guests into the Glass House at the start of the performance. During the performance, the storm cleared into a dramatic red and pink sunset and concluded in nightfall. Rehearsing only one day before, Sakamoto and Nicolai experimented with a keyboard, mixers, singing glass bowls, crotales, and the architecture of the Glass House. Contact microphones were attached to the surface of the Glass House, and using various weighted gong mallets with rubber heads that were gently but firmly dragged along the surface of the glass, Sakamoto and Nicolai transformed the Glass House into an instrument, creating a wistful sounds of contemplation and longing. Similarly, Nicolai played two sets of high and low octave crotales with a horse hair bow. The pair improvised in what could be described as an intuitive call and response manner. This sense of fresh sound experimentation was captured in Derrick Belcham’s film of the haunting soundscape created by Sakamoto and Nicolai at the Glass House. 

GLASS, PERFORMANCE BY ALVA NOTO AND RYUICHI SAKAMOTO 1ST SEPTEMBER 2016, GLASS HOUSE IN NEW CANAAN, CONNECTICUT - A SITE OF THE NATIONAL TRUST FOR HISTORIC PRESERVATION. ORGANISED BY IRENE SHUM.

@alvanoto

GLASS

N-44 - ALVA NOTO + RYUICHI SAKAMOTO - GLASS

Physical: geographic-north.com/cassette/coyotes/
Digital: geographicnorth.bandcamp.com/album/coyotes
Catalog #: GN49
Cassette, limited to 100

Félicia Atkinson is a composer, sculptor, painter, poet, and publisher from Rennes, France. Atkinson has led a fruitfully fantastic run of eerily blissful, serenely euphoric sounds. Whether under her own name or via her defunct recording pseudonym Je Suis Le Petit Chevalier, Atkinson has released work on Umor Rex, Digitalis Limited, Aguirre, and Shelter Press, an imprint co-run with Bartolomé Sanson.

‘Coyotes’ is an EP inspired by Atkinson’s last voyage to New Mexico in February 2017, when she visited and took in the geographic landscapes from Taos to Ghost Ranch. The same vistas also inspired much of Agnes Martin’s and Georgia O’Keefe’s painting, as well as Jerome Rothenberg’s poetry and translation’s works.

Atkinson describes a ‘Coyotes’ as a “Carnet de Voyage,” a tape you could directly play in your car while traveling somewhere, a kind of imaginary map to a sentimental journey. A spontaneous gesture, close to the notion of gift or offering. Or, simply, a postcard to a friend.” But it’s also a praise to the conservation of national and state parks and its human and non-human souls, menaced as we know now by drilling and violent economic speculations.

Here, coyotes act as a kind of metaphor of ambiguity and doubt, a state of mind that Atkinson find interesting to transcribe musically; the ambiguity furthered by Atkinson as a literal “foreigner” in New Mexico. She conveys a sense of visiting these native sacred lands and wondering what you are doing there.

Musically, ‘Coyotes’ is composed of two long tracks, “Abiqiu” and “Lighter Than Aluminium.” Each track features an effervescent froth of piano, midi sounds evokes marimbas, Fender Rhodes, bells, sub-basses, and spoken word poetry written by the musician to display a melancholic landscape made of transparent but deep layers of pale colors and blurry lines.

Félicia Atkinson - "Lighter Than Aluminium"

The summer of 1996 is noted for the birth of Dolly the sheep, the first mammal to have been successfully cloned, the breakthrough of the Spice Girls and on a personal level the remix of one of our tracks by the Canadian band Incarnate. This track was part of a Pioneer campaign we were involved in. Beware it’s pretty lo-fi…

Prepare For Eternal Opuscule

By Catsystem Corp. - https://catsystemcorp.bandcamp.com/album/palm-mall-mars

01. スキポール空港Plaza - 00:00
02. Palm Mall Mars: Central Boulevard - 05:14
03. Virtual World Generator - 08:40
04. Indoor 園芸 Climate Control - 12:02
05. Commercials - 14:54
06. 猫 シ Corp. & SEPHORA脳バイブス - Second floor: 환대 & 음악 - 17:40
07. Poulsen Treatment Studio - 22:24
08. Ring World Information System - 25:30
09. Sembikiya Restaurant - 31:05
10. 홀로 그래픽 컴패니언 ARPE - 33:55
11. Conference Room - 37:21 اجتماع  
12. Commercials - 42:09
13. Palm Mall Mars: Sports Centre - 45:31
14. SmartLife K2049i - 50:23
15. META Fashion dept. - 52:17
16. 猫 シ Corp. & MindSpring Memories - Palm Mall Mars: Farcaster Station - 55:45

猫 シ Corp.  Palm Mall Mars

Dedicated to Airkit   https://soundcloud.com/theairkit

Mårble & Minereed - Dedicated to Airkit

Learn more: http://smarturl.it/rvngnl47-2

©2018 RVNG Intl. // www.igetrvng.com

Lucrecia Dalt - Tar (Jan Jelinek Remix)

Title track from the new solo album 'TUTTI' by Cosey Fanni Tutti. 

Released by Conspiracy International on 8th February 2019
on Vinyl, Compact Disc, Digital Download and Streaming.

Pre-Order here: https://cargorecordsdirect.co.uk/products/cosey-fanni-tutti-tutti
For more information visit: http://www.coseyfannitutti.com
Video version: https://youtu.be/NgXD3XvE08U

PRESS RELEASE

COSEY FANNI TUTTI announces the release of her second solo album, TUTTI, 
out on Conspiracy International on 8th February 2019.

TUTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey’s life, music and art: “It’s the only album I’ve made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.”

These eight pieces were originally conceived as the soundtrack to the autobiographical film ‘Harmonic Coumaction’, and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, ‘Harmonic Coumaction’ was presented as an audio-visual installation for Cosey Fanni Tutti’s solo exhibition at Cabinet Gallery, London.

Cosey Fanni Tutti explains: “Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.”

On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation.

Recorded at Cosey Fanni Tutti’s studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey’s art activities with her exploration of sound: The album’s autobiographical theme is not locked into any specific time or place, the ‘voices’, instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI’ shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist.

TUTTI is Cosey Fanni Tutti’s only solo album release since 1982’s Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto “my life is my art, my art is my life”. 

Cosey’s autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow.

TUTTI TRACK LISTING
Tutti
Drone
Moe
Sophic Ripple
Split
Heliy
En
Orenda

TUTTI

TUTTI (edit)

TUTTI (Edit)

Boomkat Product Review:
Killer, bassbin-destroying acid-dub pressure on the first of two 7”s on Joachim Nordwall’s newly formed Dub On Arrival label, this one featuring Andreas Tilliander on a fathoms-deep soundsystem inversion sounding like the trippiest Rhythm & Sound excursion.

On the A-side’s ‘Expect Resistance’, he smudges the contours of a 303 and the vapour trail of dub melodica until they resemble a curdled, lysergic reflection of Jamaican dub proper, highlighting its inherent links to house and techno while keeping it completely heady and deep.

On the flip, ‘Respect Existence’ is even slower, more spacious and plasmic, like one of Rhythm & Sound’s drowsiest, a la ‘Roll Off’, but merged with early Plastikman-esque acid for a trippy, psychedelic session.

Basically, decades of echo chamber experience channelled into a brilliant pair of disintegrated acid dubs = pure fire.


Get it here: 
https://boomkat.com/products/expect-resistance-f6fc5b17-0808-4175-89a4-805cad339661?taxon_id=107777

Tilliander - Dub On Arrival 7" out 2019-02-22

Visible Cloaks, Yoshio Ojima & Satsuki Shibano - "Stratum"

Taken from FRKWYS Vol. 15: serenitatem, available April 5, 2019 on RVNG Intl.

smarturl.it/frkwys15

©2019 RVNG Intl. // www.igetrvng.com

FRKWYS Vol. 15: serenitatem

Visible Cloaks, Yoshio Ojima & Satsuki Shibano - Stratum

JS - Small

雨田光平、SUGAI KEN [ 京極流箏曲 新春譜 ] (excerpt1)

On ‘Redeux’ ‘Penelope Two’s’ themes of life and death and of hope and dismay are still prevalent, being brought to the surface in a myriad of ways.  

On this SoundCloud stream, Throbbing Gristle’s Cosey Fanni Tutti’s dystopian, avant-garde and jazz tinged electronics are deployed alongside her signature Cornet to flip the album single ‘Carry Me’.    

After the release of her sublime, critically acclaimed sophomore solo album ‘Penelope Two’, Penelope Trappes and Houndstooth are pleased to announce ‘Redeux’; an album of top-drawer reworks of tracks from ‘Penelope Two’, which showcase not only the intrinsic brilliance of Penelope’s composition and performances, but also her far-reaching and all-encompassing musical influences and significance. 

“There were no preconceived notions of how the reworks would work together, just total freedom. I’m absolutely in love with all of these! I never really thought I’d get the chance to collaborate with such an array of creative artists who have inspired me, but at this point, I’ve learned to never say never” explains Penelope. 

01. Burn On (Mogwai Rework)
02. Carry Me (Cosey Fanni Tutti Rework)
03. Maeve (JFDR Rework)
04. Farewell (Johnny Hostile Rework) 
05. Night Hive (Paul Corley Rework)
06. Nite Hive (Nik Colk Void Rework)
07. Connector (Aasthma Rework) 
08. Farewell (Throwing Snow Rework)
09. Kismet (Poppy Ackroyd Rework)
10. Burn On (Félicia Atkinson Rework)

Released June 7th 
Vinyl / digital
-------------------

Penelope signed to Houndstooth in 2018 and released her sophomore LP (and photo book) ‘Penelope Two’ in October 2018. The minimalist, ethereal album was built around field recordings, meditations, guitars, synth drones, piano and reverb, and deals with mortality, predestination and empathy. Previously known for her work in the electronic duo The Golden Filter”

Under the latter moniker the duo released albums with Brille, Vinyl Factory and Optimo that were praised by The FADER, Pitchfork, NME, Gorilla Vs Bear and Resident Advisor. Additional endeavours included sound-tracking short films and feature films and are currently releasing new material.

When not making music Penelope works on photography, video and performance art as part of a visual arts collective, Agnes Haus.

Redeux

Carry Me (Cosey Fanni Tutti Rework)

BUY / STREAM LP

Penelope Trappes - Carry Me (Cosey Fanni Tutti Rework)

Artist: Jonathan Scherk & Daniel Majer
Album: It's Counterpart
Label#: Faitiche19
Format: LP/DL

Faitiche is delighted to welcome two young artists from Canada: Jonathan Scherk and Daniel Majer hail from the post-rock and experimental scene in Vancouver, where they shared a studio for several years. In artistic terms, too, there is a surprising coherence: on It’s Counterpart, their solo work naturally blends to create a joint album, making it hard to distinguish between their contributions. Majer describes his part as a shadow-like reflection to Scherk’s brightly meandering collages. The album’s title refers to this: It's Counterpart presents two solo artists who have met their match in one another.

Scherk and Majer produce contemporary sound collages on samplers, laptops etc. using raw material drawn from YouTube videos, field recordings, cassettes, and LPs from the dollar bin – the kind of rightly forgotten obscurities that have long since lost their audience, if they ever had one. In the hands of Scherk and Majer, they become abstract sound objects. The two artists don't concern themselves with the material's original context – the sound's character is most important. This sets them apart from other collage artists. Their work might be called a contemporary upgrade of the classic tape collage: here, channelling a wealth of information is the main focus. So are these collages that trigger neither associations nor contexts? Au contraire! It’s Counterpart is like an overheated centrifuge whose spinning extracts and joins together all of the harmonies ever pressed on vinyl. Melodies run amok.

set chocha

Cristian Kurtz