YEAH YES HERE HE IS ....MUSLIMGAUZE BRUDER .....REAL DIVINE SOUND MAGIC....FOR BLIND SELFISH SELF FUCKERS....EVER A AWAKENING.....BE REAL AS REAL CAN BE IS OURS

REAL DIVINE SUFI KICK SOME SELFISH CONSUME POSER ASS....IN REAL WISDOM WHICH IS "SO REAL YOU NEVER LIKE HAHAHA

Gudrun Gut and Mabe Fratti have worked together on a powerful hybrid album, where taut rhythms fuse with haunted vocal melodies and spoken word, and field recordings meld with extended ambient pieces. Limited edition of 500 copies on Yellow Transparent vinyl LP, digital downloads and streamings.

As part of Umor Rex’s 15th anniversary, we here present an album that builds a dialogue between two lands and two unique artists. Mexico is the origin and conceptual residence of our label, while Germany is where we produce and manufacture our records (Berlin functions as the center of distribution and logistics, thanks to our friends at Morr Music). The intertwining imaginations belong to German producer Gudrun Gut (Malaria!) —a notable figure of the subculture and the German music scene since the early 80s, and also a founder of Monika Enterprise and recipient of the ‘Listen to Berlin’ Award in 2019— and singer, multi-instrumentalist and composer Mabe Fratti (originally from Guatemala, now based in Mexico City). We knew about “Let’s Talk About The Weather” from the beginning, and since the moment Gudrun and Mabe made us part of their project, our excitement could not be greater.

The process started with Gudrun and Mabe having long distance conversations, asking about their whereabouts and discussing the weather. This might seem rather commonplace, but it works as a key thematic component for the entire album. The weather as the new great unknown, perceived through the optics of everyday life. Sound files were methodically exchanged, with Mabe exploring words and vocals, and Gudrun working with field recordings taken from each city. In the end, this joint musical venture would provide a healing effect for both artists during life in quarantine.

“Aufregend”, the opening track of the album, reflects upon a general lack of excitement in modern life. It wonders what the future might hold. Is it cold? Is it warm? Will it be the same? “Air Condition” is an eerie, dazzling collision of climates: the hazy warmth of Mexico City, the deep cold of Uckermark. The last track, which gives the album its name, is a long ambient piece composed of four parts: sound sculptures, field recordings of city life, news and weather forecasts, and private conversations about the climate. It’s kind of a collaborative diary, obsessed with a single, all-encompassing subject.

Produced and recorded by Gudrun Gut and Mabe Fratti between Berlin, Uckermark, Veracruz and Mexico City. Mixed by GGut at Stern Studio Mastered by John Tejada in Sherman Oaks, USA. Artwork & photos by Daniel Castrejón in Mexico City.

Special thanks to Goethe Institute, who contributed to the creation of this album with a Virtual Partner Residency support.

Let’s Talk About The Weather

Gudrun Gut + Mabe Fratti — Aufregend

I managed to record my closing DJ set at this years Ozora Festival... I played on Sunday evening at 7pm at sunset going into the night... Thank you SO much to everyone who was there and danced and smiled and shared these hours with me, it was a huge honour to play the closing set at my favourite festival in the universe!! And an amazing end to an epic week!! 

Track list:

Talpa - Letter From Vienna
Legohead - LFO
Legohead - LFO (GMS Remix)
Sybarite - Infinite Vibe
Lucas - Now and Zen
Hujaboy - Ancient Memories (unreleased)
Logic Bomb - Neighbour of the Beast
Logic Bomb - The Grid
Xpiral - Cosmic Music
Virtual Light vs Wizack Twizack - Crystal Castles
Shayman - Room 3007
LOUD - Motorcycle from Hell
Shayman - Stranger
Hallucinogen & Lucas - Pipeworm (LOUD Remix)
Hallucinogen - Mi-Loony-Um!
Sonic Species - Freak (Hujaboy Remix)
A Team - Hadrush
Sinerider & Aeon - Light in the Dark
Burn in Noise - Guardians of the Sky
Burn in Noise - Beyond Known Space
Kali & Outsiders - Time Machine
Rinkadink - Techmology (Neuroplasm Remix)
Black And White - Retro Active
Chromatone vs Beyond - Bounce Buda
Chromatone - Space Star Ordering (Audio Unit Remix)
Chromatone vs Virtual Light - Psypress Pill

Celli Earthling - OZORA FESTIVAL CLOSING DJ Set 2014

Muslimgauze - Sufiq Gulf Breeze 1-2

Muslimgauze - All The Stolen Land Of Palestine

Muslimgauze - Low On Qat

Awareness & solidarity with #Rojava by female:pressure
www.femalepressure.net/rojava.html

Kurdish inspired danceable music for celebration and driving energy.

Samples from traditional instruments Kemençe, Def and Zirne.

Unmastered version

Ishtar - Rojava compilation via Female:Pressure

Nawabjaan's Song -  Chitra Singh Vs Muslimgauze - No Maps Of Dar - Es - Salaam

https://discogs.com/artist/484-Muslimgauze

muslimgauze screening

Listen and full download the whole double VA @
https://adn-music.bandcamp.com/album/va-research-of-harmony-dark
https://soundcloud.com/adnart-music

10 - Sectio Aurea - Deep Resonance

FELICIA ATKINSON 'Hand In Hand' (Shelter Press SP081)

OUT ON MAY 4TH, 2017 on 2XLP / CD / DL
INFO / ORDER : http://shelter-press.org/felicia-atkinson-hand-in-hand/

Distribution : Boomkat (EU/UK/ROW) — Forced Exposure (USA)
—

Félicia Atkinson new full length album, ‘Hand In Hand’ is an expanded development of her musical compositions started with the highly-acclaimed
A Readymade Ceremony released on Shelter Press in 2015, and follows her collaborative effort with Jefre Cantu-Ledesma Comme Un Seul Narcisse (Shelter Press, 2016).

Composed over the year of 2016 at EMS during a snow storm and at home in Brittany, Hand in Hand could be considered as the most ambitious body of work recorded by the French musician and artist.

Doubt and Optimism are the two sides of a same coin. Hand in Hand is arid and warm in its whole synchrony and opposition. Days are burning and nights are made of ice. Coyotes are exchanging sounds with rattles snakes while bunnies are hiding. Strident modular sounds are tearing apart minimal beats and drones. The stories told by A Voice to the auditor are no longer fictions and become slowly reality.

Electric waves transmitted by living creatures and machines seem to deliver special sounds and frequencies that only non-human can hear. They grow and vibrate despite of the walls and interdictions. Therefore, the human who is listening to this record might find in it a particular kind of emotion a way to take space in silence, and frame a certain vision of thinking while losing a certain notion of time, acknowledging step by step its universal environment. Plants, galaxies, animals, machines, Hand in Hand.

This record is meant to be a moment of common thinking and listening in its diversity and abstraction. In the same way a sci-fi novel by Philip K. Dick or a sculpture by Guy Mees can be percieved: trivial, sensitive and mysterious at the same time.

The opening track, I’m Following You is a bleached romantic ballad for Fender Rhodes that could be the ending title of a Martian love story, whereas Visnaga praises the resources of a desert plant through asmr voices, field recordings and evasive chords. A House A Dance A Poem is a feminist hymn composed as a pyramidal structure, referring in the same time to the A-frame houses, the yoga position of the triangle, the first letter of the roman alphabet and the feminine sex. In the closing song, No Fear But Anticipation, Atkinson offers an open hearted plea about the existentialist necessity of finding desire even when the times seem too dark to think about it. A telepathic and non-scholastic anthem for Don Delillo, Joan Didion and Jean Paul Sartre. The final Buchla sounds that close the record seem to deliver an unspeakable message that only birds and aliens could transcript.

The echo of the 80’s sci-fi anxious aethetics resonates with today’s transparency of digital sounds in the whole record. The cohabitation of simple midi textures and historical Serge and Buchla signals are convoked and confronted together by A Voice. The human instrument appears here as the epicenter of the recordings, giving to the others instruments a gravitational point.

Joan La Barbara, Robert Ashley or Delia Derbyshire are the main influences of Atkinson in their own way of inviting fiction, composition and abstraction as the essential materials of composition. For Hand In Hand, Félicia Atkinson used different sources for the lyrics and scores of her tracks: house plant instruction books, Desert Magazine old issues, architecture manuals, JG Ballard and K. Dick’s books, as well as her own poetry.

Félicia Atkinson will premiere Hand In Hand for GRM’s festival Presences Electroniques with a 16 channels diffusion. A 7 hours extended version of the record, conceived as an evironmental audio book will be broadcasted for 2 months at La Criée Center for Contemporary Art from April 1 to May 31 in Rennes (FR).

Hand In Hand

Visnaga

FELICIA ATKINSON 'Visnaga' (SP081)

https://soundcloud.com/pivospacanami

www.soundscapeversions.de

Pivo S Pacanami

084 Pivo S Pacanami

Curve Sciolte

Taken from:

Jay Glass Dubs - Plegnic [E039] 
Out on vinyl and digital on Ecstatic Recordings
07/09/2018

Jay Glass Dubs sublimates Athenian distress and ennui into plasmic dub ether on ‘Plegnic’, his lushly evolved 1st collection of new material for Ecstatic, following from their acclaimed, 2LP ‘Dubs’ [2017] set of his earliest, hard-to-find tape releases. 

Deconstructing and rebuilding Jamaican dub with musique concrete production methods and a lingering air of inspiration from new age and Laïko, or Greek popular music, on ‘Plegnic’ Jay Glass Dubs fascinatingly evolves his sound with richer melodic and harmonic arrangements in a concerted effort to bridge and expand the nostalgic, esoteric and dancefloor dimensions of his unique sound world.

The key to the record lies in its title, ‘Plegnic’; an extinct word meaning “to strike like a hammer”, as well as its palpable sense of nostalgia. In this archaic context, JGD uses vintage machines and obsolete samples into junction with vocals from Yorgia Karidi - sound artist and coincidentally former beau of his childhood neighbour, and Andreas Kassapis one of his oldest friends, who provides the cover art - to conjure a strikingly new, mutated take on classic and well-trodden styles; metaphorically and anachronistically renewing their purpose while connoting his newfound dancefloor drive in the process.

Recording took place at his mother’s house in the Athens suburbs, with Fugazi’s ‘Steady Diet of Nothing’ on repeat. It was here that he dug out an old Juno, a Yamaha RX5 drum computer, and some “…crappier equipment” that provides the structural scaffold to his array of nostalgic, melancholic Laïka samples, which could be considered the ghost in the shell or the diffused soul of this superb five part crop.

On the A-side he sets out to spook with the desiccated, teetering steppers motion of ‘Temple Dub’ featuring heavily processed vox by Yorgia Karidi, but the heady nostalgia takes over with a sublime tactility in the vaulted chorales and endless reverb tails of ‘Umbro Dub’, and again in the aching sehnsucht of ‘Mouthless Dub’, where traces of Laïka’s bouzouki melodies most beautifully glimmer thru. 

However, the B-side is far more upfront and up-for-it, firstly putting his weight behind the cranky skank of ‘Dry Dub’ with its hexagonal drums and acidic bass squirm, then in the super squashed swagger of ‘Fearless Dub’, a near 10 minutes long pinnacle of his dancefloor output to date.

Ultimately Jay Glass Dubs’ music is riddled with the kind of nostalgia that can make an unfamiliar piece of music feel like an intense déjà entendu, like you’ve heard it before in a dream or some altered state. That’s a rare and precious thing.

BUY!

JAY GLASS DUBS - TEMPLE DUB [E039]

Track 2 from Lea Bertucci 'Resonant Field' [NNA120].
Available July 19th on Vinyl, CD, & Digital formats.
http://nnatapes.com

Resonant Field

Lea Bertucci "Warp And Weft"

“It was one of those rare occasions when you hear something, you cannot help but think 'where the hell does this come from?” 

So thought Steve Wilson in 1996 as he listened to the two Digital Audio Tapes (DATs) of remixes by Bryn Jones aka Muslimgauze of his bands Porcupine Tree and No Man. Wilson chuckled good-naturedly as Jones referred to the remixes as “improvements” over his own musicianship. Actually, Wilson was flattered since Jones, whom he met a week earlier at a Manchester pub, responded both promptly and creatively to promo CD singles passed along as both a gesture and musical calling card. While Wilson found the remixes intriguing, he did not know what to do with them. The DATs held only faint resemblance to the source material, which was smothered in the toxic waste distortion, deft manipulations, and industrial strength beats of Muslimgauze. Perhaps a handful of Wilson's fan base would have 'gotten it', but it would have simply went over the heads of the majority. Wilson rang up Jones and said there was no way he could possibly release this music. The response was yet another DAT a week later titled, the “We cannot possibly release this' remixes”. Wilson then suggested, rather than release remixes, to work on a collaboration which would be the basis of his then-new experimental music project, Bass Communion. Jones agreed and sent original Muslimgauze material which was the basis for the full-length and EP CD's Bass Communion V. Muslimgauze (Soleilmoon 1999 and 2000, respectively). The remix DATs as well as unused material for the collaboration languished in Wilson's studio until the Muslimgauze Preservation Society approached Wilson about bringing the music into the loving homes of Muslimgauze enthusiasts. 

The Muslimgauze Preservation Society are proud to offer you MPS 02, Camel Through A Needles Eye, featuring two discs of unreleased music that clock in at just under three hours. Muslimgauze like you never heard it; a yin/yang of both the abrasive textures and ethereal, beat-driven and ambient—fused into wondrous harmony. To commemorate this release, the MPS sourced covers in Egypt to be hand-printed onto genuine papyrus. A second cover is set amidst a 9 panel fold insert with extensive liner notes on one side, and a fold-open poster featuring Jones' original art work on the other. A bonus sticker of Jones' art work is also included. The music and packaging is all set within a super jewel case to protect this special  edition limited to a run of 500. Quantities are already selling fast! 

MPS 02
 www.themuslimgauzepreservationsociety.org
 www.fathomdistribution.com


Muslimgauze - Sufiq Gulf Breeze 1-2

Emma Kunz

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