Experiment

Colin Stetson and Sarah Neufeld - "The sun roars into view"
from 'Never Were The Way She Was'

available 28 April January 2015 on Constellation:
cstrecords.com/cst113

Never were the way she was

Colin Stetson and Sarah Neufeld • "The sun roars into view"

GODSPEED YOU! BLACK EMPEROR - "Peasantry or 'Light! Inside of Light!" (excerpt)
from 'Asunder, Sweet And Other Distress'
available 31 March 2015 on Constellation:
http://cstrecords.com/cst111

'Asunder, Sweet And Other Distress'

Godspeed You! Black Emperor • "Peasantry or 'Light! Inside of Light!" (excerpt)

M400 Cello, MKII Flute, MkII Violins, M300 Strings B-Low:  Mellotron tracks only, A 5 part composition. I just love the Mellotron!

Mello

Face A - DANSE DES NENUPHARS - Lexi015

Eleh's influential Radiant Intervals I, originally released on CD/LP in 2010, is a meticulously nuanced, restrained exploration of the rhythmic and harmonic relationships inherent in pure analog frequencies using a blend of intuitive and mathematically based tunings. Dense patterns of sound slowly unravel and are woven together again in new ways while harmonics hover and shift overhead. Radiant Intervals is a purely analog recording, made with a Serge Modular system, Mini Moog, Sequential Circuits Prophet 5 and a Pro-One.

Radiant Intervals

ELEH Night Of Pure Energy from Radiant Intervals LP - Available Nov. 2016

Moon Wheel — Patience

JOYFULTALK
Plurality Trip

Album out 24 Aug 2018
CST134 • 180gLP / DL

cstrecords.com/cst134
https://joyfultalk.bandcamp.com/

Plurality Trip

JOYFULTALK • "Kill Scene"

From the album Daqa'iq Tudaiq by Jerusalem In My Heart

Jerusalem In My Heart
Daqa'iq Tudaiq 
180gLP/CD/DL
CST137

http://cstrecords.com/cst137
https://www.jerusaleminmyheart.com/

Daqa'iq Tudaiq

Jerusalem In My Heart • "Thahab, Mish Roujou', Thahab"

From the album Entanglement by Jessica Moss

Jessica Moss
Entanglement
180gLP/CD/DL
CST138

cstrecords.com/cst138

Entanglement

Jessica Moss • "Fractals (Truth 4)"

From the album Stand Above The Streams by Jason Sharp

Released 23 Feb 2018
180gLP / DL
cstrecords.com/cst130

Composed by Jason Sharp

This music was performed wearing a customized heart monitor providing a single pulse to trigger analogue drums, sine wave patterns, controlled feedback, and synthesizers in real time. All electronic rhythmic material stems from this source.

Jason Sharp: Amplified heart, feedback, synthesizers, bass and baritone saxophones

Adam Basanta: Controlled feedback and amplification systems

Stand Above The Streams

Jason Sharp • "Stand Above The Streams Pt 2A"

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

QUARANTINE SERIES 08 // Savage Gary Ft. Josh Baxter (PVA) - Face To Face

Track from the digital compilation Music for Land and Water Complete, compiling all versions of the tracks produced for the 1983 live open air performance in Seattle's Seward Park.

Music for Land and Water Complete

Art and Science (Remix)

BANDCAMP

MUSIC FOR LAND AND WATER COMPLETE: ART AND SCIENCE (Remix)

"Endless Night" is from the album 'Horse' out 10/16

About 'Horse' by Holy Motors

Holy Motors' new LP 'Horse,' which is due out on Wharf Cat on October 16th, finds the band acknowledging the Americana and rockabilly strands of their musical DNA without sacrificing any of the otherworldly mystique that keeps them from neatly conforming to the shoegaze and dreampop labels often applied to their music.  

From the album’s opening moments, songs like “Country Church,” with its major key and classic rhythm and blues guitarline, and “Midnight Cowboy,” which sounds like a lost Buddy Holly 45 played at 33 rpm, make it clear that Horse — even if it may not accomplish the impossible task of demystifying this band of ex-Soviet cowboys — will at least show you that there’s more to them than the near-impenetrable darkness of their work to date may suggest. Although tracks like “Trouble” and “Endless Night” gravitate toward the ethereal production and existential subject matter of prior releases, repeat listens reveal complex compositions and an empathy that is central to this eight-song album.  

As a whole, Horse stands as a warmer, more human counterpoint to 2018’s celestial Slow Sundown, and showcases Holy Motors as a hypnotic force that draws listeners in and leaves them wanting more. This effect, paired with their ability to write lyrics and music that resonate with a deeply relatable feeling of isolation, has resulted in an album built to connect with people from devoted shoegaze and western psychedelia fanatics to dreamer cowboys, driving through wide open country roads under the stars.

BUY LP / CD

Holy Motors - Endless Night (From the album 'Horse' out 10/16)

Do-it-all-herself musician and artist Nina Ryser has been home-recording since she was eight years old on her Fisher-Price toy tape machine. One of these childhood recordings makes an appearance on Ryser’s new solo album, Paths of Color, which is characteristic of Ryser’s work: dreamy, wonky, synth-based art-pop that’s bubbly, edgy, sweet, and dark all at once; with elements of post-punk, art rock, and free jazz. Recorded at the beginning of the stay-at-home order, and inspired by loss and love and our new reality, Paths is a product of Ryser’s refined home-recording set-up. Intentionally more polished and clearer-sounding than she’s ever been, Paths of Color (mastered by Angel Marcloid aka Fire-Toolz) maintains the homemade vibe and freedom of childhood expression that is so crucial to Ryser’s sound. Though a product of grief, Ryser’s light and love shines through the record’s sonic playfulness, and is ultimately a celebration of life and art.

RIYL: Palberta, Arthur Russell, Molly Nilsson, The Raincoats, Deerhoof

Paths of Color is out 10/22 on Cowgirl Records

Paths of Color

Nina Ryser - Dancing in the Street (from Paths of Color, out 10/22)

R.D.C.

We are an independent record label based in Montréal, releasing experimental music we care about in the most careful ways we can.

Jessica Moss • "Fractals (Truth 4)"

Constellation Records

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