noice

SoundCloud Weekly

Beveled Edges

Efficient Space

Basta van

„ NEW from Kristy And The Kraks „Snakes On The Phone“ 4 Tracks EP on Fettkakao. Kristy And The Kraks, affectionately known as the two-headed love child of Kate Kristal and Ana Threat, are wreaking havoc on the sensibilities of unsuspecting analog lovers, club kids, and vinyl freaks from Vienna to Chicago. Bristling with handfuls of vipers, ripped-out telephone cords, haywire guitar strings, strangulated utterances, and femme fatale crash & flash, KATK have elevated CAVE-GIRL garage anthems to a new level of sleek ULTRA TRASH AuGoGo. If you are not listening to „SNAKES On The Phone“, you’re wasting your time.“
- Tav Falco, 2017

Snakes On The Phone

Kristy And The Kraks - Ready

Vinyl & Digital:
https://superutu.bandcamp.com/album/pantene

Pantene was a live performance art-pop group that existed in Berlin, Germany in 2015. Its four band members: Marijn Degenaar, Molly Dyson, Olle Holmberg, and Rahel Tierbach took a DIY approach to instrumentation and arrangement, where intergenerational low-fidelity samples collide with subversive and pithy lyrics. Using laptops, MIDI, samplers and effects units to deliver re-contextualised pieces of music, Pantene explored issues surrounding cultural constructions of power, identity and sexuality with effortless aplomb.

This collection of 4 songs has been, for the past few years, sitting on Soundcloud slowly collecting plays, likes and no doubt intrigue from its listeners, as it seems since the time of upload Pantene have gone silent. Super Utu will be reissuing this remastered digi-relic on 10” polyvinyl chloride for the very first time. On side A is Don’t Touch Me I’m Dancing, a piercing retribution to seedy characters who lurk in dark corners of nightclubs. Molly and Rahel’s disaffected vocals pan “It’s a quest for satisfaction. A finger in every hole.” As if the nightclub is the playing field for some sort of sadistic sexual sport. Just Business, dejectedly examines our autonomy as individuals existing in an increasingly monotonous world controlled by capitalists. It’s the kind of work Barbara Kruger might have written if she decided to make music instead of visual art. Olle reflects “…cos everywhere you go there is another IKEA store to stock up your new life.” It’s a witty remark that would feel as much at home in a dole-wave jangle as a David Foster Wallace novel. At once extremely familiar, yet totally mentally isolating.

On the flip we hear Near To The Wild Heart. A legato, time-warped sample breathes deep and heavy beneath the reverb drenched vocals which sing “I am calm, I am cool, I wait for you. Take me all the way down, stretch it to the limit.” The lyrics float around in the back of your mind, in the exact same way the thought does that the attractive other from across the room, who’s been making eyes at you all night, might go home with you. On My Knees 2 Pray also does not falter in it’s sexually implicit/explicit vocal tango. The hapax legomenon of sultry deutsche sprache translates to “Virgin Mary, I know you see me. My knees only suffer for you.” 

While public discourse on sampling is contentious, it definitely pays to look beyond the technicalities and understand the context and contention of the creator(s). Pantene’s use of samples trounce any blatant pastiche. They re-appropriate decades old night club hits into breath-of-fresh-air political-pop songs. Perhaps you could even call them protest songs. At least we’re confident in knowing that they’ll be broadcast in institutions which were once symbols of anti-establishment, freedom and expression. Maybe they’re still like that. or Maybe not.

Words by Raudie McLeod
http://atelierutu.tumblr.com

SUPER UTU 2 - PANTENE - SNIPPETS

Excerpts from the album:

Artist: Ultramarine
Title: Signals Into Space

Pre-order here:
https://www.lesdisquesducrepuscule.com/signals_into_space_twi1236.html

Formats: 2xLP / CD
Label: Les Disques du Crépuscule (TWI 1236 / TWI 1236 CD)
Released: 11th January 2019

All instruments played by Ian Cooper & Paul Hammond except...
Anna Domino: vocals, lyrics
Iain Ballamy: soprano sax, tenor sax
Ric Elsworth: vibraphone, percussion

Recorded at Stag Studios, Essex and Press Play Studios, London
Engineered by Andy Ramsay
Mastered by Noel Summerville at 3345 Mastering, London

Art & design by Heretic / Spectral Nation
http://hereticheretic.co.uk

Signals Into Space

Ultramarine - Signals Into Space (album preview)

“It’s not easy to be free, but it’s harder not to be”.These are the first words to Bad Woman, Céline Gillain’s debut LP on DRAMA.

I’ve never had that many difficulties writing a text for a release. There were easy ways of dealing with it actually, like isolating some of the lyrics and making aphorisms out of them that would have punctuated the text. I could have also wrote about her music with hackneyed words and glamorous comparisons with the likes of Laurie Anderson or Leslie Winer.

Maybe is it because it summons the influence of artists that have been crucial in our lives, maybe is it because of the ambition and the absolute sincerity emanating from this record, maybe is it also because of the utter contemporaneity of the record… but I feel stuck.

So I will only say a couple of things. If the idea of an LP following her debut 7″ on Lexi Disques gets you as excited as we were and still are, you won’t be disappointed by Bad Woman. The music on the upcoming album definitely is pop music, but in a disturbing, beyond « good » and « bad » taste kind of way.

It sometimes feel as if Bad Woman has been written by a former Pop diva that saw her expectations being shattered by life and now tries to make her come-back with a new album, influenced by what she believes to be contemporary pop music. The thing is, the result is a mutant blend of everything and anything that has been produced by the music industry these last 30 years, from Cher’s delirious come-back in the 1990’s to the most embarrassing moments in Dance music, and it rather sounds like a record that would have been written in a parallel universe.

That being said, Bad Woman tackles painful issues about our lives as individuals and society but with absolute elegance. After months of being the only one able to listen to it, no need to say that Zaltan & I are now extremely proud and happy to see this record coming to life. Thank you Céline for untrusting with taking care of your album.

OUT DECEMBER 2018 via DRAMA

Bandcamp

CÉLINE GILLAIN - FIGHT OR FLIGHT (DRAMA2)

Meditative ambient with marimba and notes of Fourth World, originally recorded some time between '80 and '95.

'Midday Moon' is out now on Bedroom Suck Records.

Buy: bit.ly/2QqSQnm

@bedroomsuckrecords

Midday Moon 

Premiere: Blair Greenberg – Gleaming [Bedroom Suck Records]

A1 - Don't Touch Me (I'm Dancing) from the Pantene EP

Vinyl & Digital:
https://superutu.bandcamp.com/album/pantene

Pantene - Don't Touch Me (I'm Dancing)

Out Now. Efficient Space assists Italian-American go-getter Joe Tossini in re-releasing his 1989 album Lady of Mine - a low budget, high romance testament to his unflinching charisma and the power of positive thinking.

Sicilian by birth, Tossini drifted around the world between Italy, Germany and Canada, before finally settling in New Jersey. After the passing of his mother and the breakdown of a second marriage, an anxious and depressed Tossini took to songwriting as a form of therapy, crafting disarmingly candid lyrics from his extraordinary life and loves. Befriending bandleader Peppino Lattanzi at local club The Rickshaw Inn, he was encouraged to animate his singular songs with an ambitious cast of 9 players and 5 backing vocalists, sincerely credited as his Friends.

Recently peaking interest as a cornerstone of the Sky Girl compilation, the private press now trades for inordinate sums, typically with no financial benefit to its creator. Lady Of Mine is finally reissued on the artist’s own terms via Joe Tossini Music (in partnership with Efficient Space), restored from original master tapes with unseen photos, extensive liner notes and Tossini’s trademark wisdom.

Lady of Mine is out now on LP, CD + selected digital > bit.ly/LadyOfMine

JOE TOSSINI AND FRIENDS - Lady of Mine (JMT001) OUT NOW

Wilson Tanner (Andras and Eleventeen Eston) return to shore with II - a new album of floating melodies, lightly salted. The 12 min odyssey Killcord Pts I-III battens down the hatches as these sailors eye merciless waves and blinding ocean spray, channelling Berlin-school electronics and sea legs.

Wilson Tanner - Killcord Pts I-III (ES013)

Useful Information

Read more: https://electrocorp.fr/2019/06/18/wilson-tanner-ii/ 

"These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick". This is how we got introduced to the new album of Wilson Tanner. 

Wilson Tanner is the mutual project of Australian artists Andras (Andrew Wilson) and Eleventeen Eston (John Tanner). Here they release "II", a follow up to their debut full-length published in 2016. 

Through the 8 tracks, Andrew and John captured Ambient and Electronica landscapes, all recorded in 3 days, on September 2017, aboard a 1950s riverboat with weatherproof instruments. 

While listening to the LP, we instantly felt in love with the whole aesthetic and the peaceful feeling that spead throughout the tracks. "All Hands Bury the Dead" is our pickup from the release with its early 70s / late 60s electronic sound that brings back a lot of music and visual memories.

Premiere: Wilson Tanner - All Hands Bury the Dead [Efficient Space]

Hüseyin Ertunç Sextet ‎– Unhinged-Ness Voices (Excerpt)

Wilson Tanner come to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. A change of course from their debut album 69 (Growing Bin Records, 2016), the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbours of Port Phillip Bay. 

The seafarers head out to My Gull’s poised optimism. The birds watch but do they listen? By the arrival of Loch and Key, the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on Killcord Pts I-III - a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channelling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of Idle survey the damage as our parched crew sound the distress signal and ultimately descend into delirium. 

Known for navigating individual courses as solo musicians, Wilson and Tanner’s collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists’ most accomplished material.

07 Wilson Tanner - Safe. Bird. 5:21 (ES013)

03 Wilson Tanner - Perishable 3:35 (ES013)

01 Wilson Tanner - My Gull 2:11 (ES013)

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997). 

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar. 

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch. 

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys. 

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.

Steve Hiett - Are These My Memories? (ES011/BEWITH062LP)

Label run by @noise-in-my-head

Distribution queries:

Australia | info@noiseinmyhead.com.au
Rest of the World | www.wordandsound.de