Mastered and/or mixed by Rupert Clervaux

SH-002_1980-10-25_Bailey-Parker

Francisco Meirino "Notebook (Techniques of Self-Destruction)" CD

"Notebook (Techniques of Self-Destruction)" is the new studio full length album from Francisco Meirino. Making his return on Misanthropic Agenda since critically acclaimed and criminally limited "Recordings Of Voltage Errors, Magnetic Fields, On-Site Testimonies & Tape Tension" LP.

Eight pieces of abrasive music made of electricity, mysterious forces, sharp knives, dying tape recorders and voices below the threshold of intelligibility.
Assembled and mastered by Francisco Meirino at Shiver Mobile, 2012-2014.
Features "Techniques Of Self-Destruction" originally a piece for eight speakers commissioned by Jerome Noetinger for l'Audible Festival, Paris 2012.

Born in 1975, Francisco Meirino is active since 1994 (as phroq until 2009) in sound and live performance, he explores the tension between programmable material and the potential for its failure by working mainly with the computer, magnetic fields detectors, reel-to-reel tape recorders, piezo transducers and various acoustic devices. 

Available now at:
http://www.misanthropicagenda.com

Francisco Meirino "You Know Nothing"

MENTAL SHAKE

Our tenth OTOROKU release sees a return to the group that kick-started the label - the veteran German reedsman and free jazz pioneer Peter Broetzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of '…The Worse The Better' that group went on to play a series of devastating shows in Europe and to emerge as one of Broetzmann's finest working groups. Over the same period Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself on stage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Broetzmann for impact whilst the extended sustain of the vibes opens up an eerie space for some of Broetzmann's most fertile lyricism.

The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention - stoking the others onwards. Broetzmann was clearly energised - I swear I saw him dancing at the side of the stage whilst exchanging a shattered reed. And for all the usual rhetoric of Free Jazz bluster and machismo, this is a meeting characterised by the joy of communal creation that makes you want to dance - even if only in your head.

----

Peter Broetzmann / alto and tenor sax, Bflat clarinet, Taragato
Jason Adasiewicz / vibraphone
John Edwards / double bass
Steve Noble / drums

----

Recorded live at Cafe OTO on 12 August 2013 by James Dunn.
Mixed by Rupert Clervaux at Grays Inn Road. Mastered by Andreas [LUPO] Lubich at Calyx.

Design by Brö/Untiet. Drawing by Brö. Photocollage (on sleeve reverse) by Dawid Laskowski

ROKU010. LP/CD/Digital Download. Edition of 1000.

ROKU010 Broetzmann / Adasiewicz / Edwards / Noble - MENTAL SHAKE (excerpt)

Cellist and adventurous noise maker Okkyung Lee takes over the airwaves in a guest transmission. 

https://www.nts.live/shows/guests/episodes/okkyung-le-24th-may-2023

OKKYUNG LEE 240523

"Sounds hide within shadows, and what might be a discreet scrape on a cymbal could equally be an inconspicuously stroked guitar string. The musicians feed their material into the space, enough to be picked up by their feedback system, after which they ride their own sounds, penetrating inside the noise to throw its shapes." - Philip Clark, The Guardian

~~~

Utterly beguiling recording of two great improvisers at work in the Hara Museum, Tokyo in the winter of 2013. Drumset, percussion, guitar, amplifier - a simple set up that produces complex and extremely dynamic results, with immense swells of enveloping feedback, fragile cymbal scrapes that hover at the edge of audibility, ecstatic free-rock clatter and slyly resonant melodies.

~~~

Recorded by Taku Unami at Hara Museum, Tokyo on 17 February 2013 
Mixed and mastered by Rupert Clervaux at Gray’s Inn Road 
Music by Roger Turner (PRS) and Otomo Yoshihide (JASRAC) 
Produced by Trevor Brent

~~~

http://recordings.fataka.net/products/541032-the-last-train-roger-turner-otomo-yoshihide-fataka-10

Roger Turner & Otomo Yoshihide - The last train (Fataka 10)

Extract from  lll人 – Vjerhanxsk (2015, 2xCD, Self-released) 

available at llln.org 

Strange, intense and extreme lll人 is the trio of Daichi Yoshikawa, Paul Abbott and Seymour Wright. Together they have developed extraordinary sounds, and a complex, significant body of work since 2012. lll人 has no obvious comparisons. The tools are familiar, but the listening is not. lll人 processes are complex, spikey, but open growths of future sound, testing extremes  and perfectly reasonable. 

(continued:)

2. Still finding, twisting and hammering out an expanding musical universe balanced only by its own logics – lll人 have few obvious comparisons. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out.

3. Fold out/roll up drumfeedbackreed sausage/pleat, holed and sliced.

4. [cropse after gannen begat gjerhan (ovo) ROKU11]

5. The tools are familiar, the listening is not;

6. The tools are familiar, the spaces are not. 

7. Here are recordings of public longform negotiations of:
a. the vast of V&A cast rooms (walkthru);
b. the theatron of Spanish Fighters (sitdown).

8. June 28, 2013 VandA cast-coated Huge room full cast of plaster. BORC Ljubljan Friday Spanski - spanski 2013 the 11th year 15 months dark room Escapade Winton, we're playing in front of the emergency;

9. More lll人: absorbing protoplasm dances of doppelnut learnings.

vjerhanxsk-EXTRACT

INTERVIEW > inverted-audio.com/feature/machine-woman-talks-up-genau-house-premieres-kassem-mosse-remix

Ahead of the release of her third effort 'I Can Mend Your Broken Heart' on @where-to-now-productions we caught up with Russian producer @machinewoman to talk musical background, production sidelights and Berlin surroundings. Stream @kmos slow-burning revamp within.

Machine Woman - I Can Mend Your Broken Heart (Kassem Mosse Remix) [Where To Now?]

Under a new alias, Lobster Theremin don Jimmy Asquith treats all to a dose of needle-breaking sounds at a nosebleed bpm. Asquith's tendencies for variety and deep, diverse breadth of musical talent is what Lobster Theremin has become known for. Any time that isn't spent heading up the revered label, is spent fabricating music that shares the Lobster manifesto. Having consistently catapulted talent such as Palm Trax and Manse onto our hard drives, it seems only fitting that the label boss is now displaying his own ability to kill it in the musical laboratory.

Tom Hang's upcoming The New World EP sees the label boss weave a narrative of escapism and delirium, from which “In The Deep” stands king. Toeing the line between immersive deep pulses, organ rupturing modulations and teetering melodies, “In The Deep” tackles techno from a number of angles – keeping you hooked throughout.

"In The Deep" emerges on 2nd October via Where To Now.

The New World

Pre-Order

Tom Hang "In The Deep" - Boiler Room Debuts

Octo Octa drops a smooth, groovy house cut for Femme Culture's HeForShe Arts Week compilation!

Buy: https://bleep.com/release/96172-various-artists-heforshe-x-femme-culture

Premiere: Octo Octa 'By Yourself (Clap Mix)'

"from the very beginning hits you with complex percussive elements that will perplex you while you silently mouth WTF! . . . makes me think that Igor Stravinsky's "Rites Of Spring" was spliced with Edgard Varèse's "Densities". . . . Hands down one of the best records of 2013 thus far!" - Chuck Bettis, Downtown Music Gallery

"bombards the listener from every direction, leading to fever-pitch moments where the border between live drum kit and digital sound file disappears, amounting to what sounds a hybrid of The White Noise, Evol’s Punani Rubber and Stockhausen’s Kontakte all on 78 rpm, playing forwards and backwards at random." - Christopher Olson, The Liminal

"The Mori/Noble duo’s interactions are as bold as they are complex and incessant; gestures in sound, in which physical impulses are expressed spontaneously, honed only by the seasoned improvisors’ spontaneity and instinctive rapport; their sound is capricious and compulsive." - Tim Owen, Dalston Sound

"the flow of ideas is absolutely unrelenting and largely resistant to description in words or comparison with existing improvisers" - Matthew Earnshaw, Felix

“Noble and Mori allow their playing to roam free, its guiding principles being a mutual desire to generate propulsive, rhythmic music and to respond to one another with reactions which are uncannily in sync. The end result is a stunning, adrenalin-inducing tour de force." John Eyles, All About Jazz

"Mori's manipulations, ranging from fizzing splutters and exhalations to insectoid hums amplified beyond bearing, veer dizzyingly toward and away from the Englishman's trajectory. At best they stagger into a crazed syncopation of sudden silences and lurching clatter . . . One of the most appealing elements of Noble's arsenal lies in his deployment of an array of untethered cymbals and gongs, smote as if part of a deranged gamelan orchestra . . . whatever the weather, they prove an inspired twosome." - John Sharpe, The New York City Jazz Record

~~~

Ikue Mori and Steve Noble first played together in 2010 at London's Cafe Oto. It was immediately evident to everyone in the room that something had clicked and a very special combination had emerged.

Apparently operating according to some sort of shared dream logic, Mori and Noble’s music is always unpredictable but never incoherent, switching suddenly between ominous abstract soundscapes and exuberant rhythmic interplay, peppered with strange recurrences, idiomatic fragments and vertiginous changes of perspective, and characterized by a strong sense of forward momentum.

From her beginnings drumming with the seminal no wave unit DNA, Mori has always had a distinctively percussive sensibility, and her deft electronic manipulations merge perfectly with Noble’s fiercely physical handiwork. Drums and their digital double: the similarities and differences overlap and interrupt, crystallize and dissolve, split and converge into a fast-flowing torrent of compelling musical activity.

~~~

1. Seismic Waves - 6:21 
2. Montparnasse Derailment - 3:25 
3. Combustion - 2:54 
4. Convection - 3:59 
5. Atmospheric Pressure - 6:23 
6. Black Death (Steve’s March) - 5:52 
7. Land of Famine - 11:20 
8. Inferno - 3:26

Ikue Mori - electronics 
Steve Noble - drums, percussion

Recorded on 16 November 2011 at Eastcote Studios, London 
Mixed and mastered by Rupert Clervaux at Gray’s Inn Road 
Music by Ikue Mori (Tohban Djan Publishing BMI) & Steve Noble (PRS)

~~~

http://recordings.fataka.net/products/513487-prediction-and-warning-ikue-mori-steve-noble-fataka-6

Montparnasse Derailment - Ikue Mori & Steve Noble - Prediction and Warning (Fataka 6)

Fataka

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