Do You(studio version)

Dying On the Inside (prod. koniacc)

Bass: Marijn Degenaar
Vocals: Rahel Tierbach, Molly Wasser, Moon Wheel
Hi-hats and production: Moon Wheel
Other music: Stolen
Photo: Emmet Green

Just Business™

Release date :  25 April 2016.

LISTEN : https://wavinghandsrecords.bandcamp.com/album/m-ndag-mon-amour-12-ep

Hailing from Gothenburg, Sweden, Facit is the project of Joakim Karlsson. For almost a decade, he has been producing tearful synthesizer music under various aliases, often teaming up with compatriot Mai Nestor on vocals. 

Smartly drawing a line between Swedish chanson and minimal synth, ‘Måndag Mon Amour’ is Facit’s second EP after having stopped at Veronica Vasicka’s Cititrax in late 2013 with 'Mat Åt Duvorna' (Food For Pigeons). 

Picture two passengers with paralyzing hemophobia, riding a sad carriage and smiling with tranquil melancholy, endlessly playing early 80s analog gear through some spring reverb. It doesn’t take long to remember « notre amour était dans un igloo » and never forgetting it.

Limited edition of 300 copies, hand-numbered insert included.
Design by Laurène Exposito.

Tracklist :

A1- Krv
A2- Dans Le Pacifique
A3- Farväl Portmonnä
B1- Hippomobile
B2- Livet Är Blott En Transport
B3- Industrimusikvänner

WH010 Facit - Måndag Mon Amour 12" EP (PREVIEW)

Glory Bitch

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Experimental cinema sonics, electroacoustic research practice and shadowy wind instruments come together to form this unique interpretation of the mythical city of gold. Utilising rare, half forgotten Soviet era synthesisers Vladimir Karpov creates immersive soundscapes under the name XYR. The Formanta mini keytar and the Alisa 1377 lend Karpov’s music strange, seldom heard atmospheres which the St. Petersburg native then combines with field recordings, toy percussion and wood flute to further build upon his utopian narratives.

Part concept album, part nod to Popol Vuh, his attempt to channel the thematics of the ancient tale of the Muisca people through his modest home studio left a lasting impression on us here at 12th Isle and we’re proud to present a selection of the tracks on vinyl for the very first time. Originally confined to just 25 cassette tapes, for this edition we have assembled some of the most inspiring tracks from the sessions as well as the bonus closing piece ‘Aguirre Song’. Immediately engaging, sincerely heartfelt and strikingly original, these are recordings we have returned to time and time again.

Limited edition LP comes housed in screenprinted sleeve. ‘El Dorado’ recorded April – August 2014, originally released via Illuminated Paths (March 2015).

https://12thisle.bandcamp.com/album/x-y-r-el-dorado

ISLE003

XYR - El Dorado LP (ISLE003)

Curated by Palmbomen II & Betonkust
Mastered by Brendan Zacharias at Cirrus Audio

MDM P

Palmbomen II - In Bath With A Salmon

This is track ONE on THE BLACK BOOK which is a 3 LP comp of stuff we love, and compiled to celebrate 20 years of iDEAL, ok? Its here rather soon. But we needed to share this with you tonight. Cover design by Philip Marshall.

JASSS - PARENTAL YOUTH (from "THE BLACK BOOK" IDEAL175 3xLP compilation)

Lucrecia Dalt - Tar (Jan Jelinek Remix)

Both Lines Will Be Blue Remixed out now on Smalltown Supersound. 

https://ffm.to/blwbb-remixed

Do You(studio version)

Ensemble Economique