Tart Tinctures

"Those albums that do not age, which never cease to surprise with their innovative freshness, listening after listening, ignoring the years passing by. Heimat's debut album is one of those, which you keep on the shelf or the turntable, like a reassuring fetish object. It is quite legitimate that these two, Armelle and Olivier, proud genius offsprings of Cheveu and the mythical The Dreams, have groped their way forward, without any sense of urgency but relying on their solid live experience, indulging in meticulous experimental research in order to sculpt the worthy successor of their «Heimat» -manifesto. If "Zwei" is inspired by marginal lands that were untouched before them, the production and extensive mastering allow the duo's experiments to cross new borders. Armelle's voice moves away from Germanic influences, digging deeper and further south."
 Full streaming of "Weiss Du" track. Eccentric and enigmatic vocals that feel like they are part of a theatrical performance. Minimalistic forms of industrial with a pop-rock feeling as well as strong references to eastern traditional folk music. A nostalgic casio melody is blooming over the broken-beat rhythms. Weird mix of styles but for sure a delightful sonic experience.

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Artist: Heimat
Track: "Weiss Du"
Title: "Zwei"
Label: @teenagemenopause + CryBaby
Format: Vinyl + Digital
Release Date: May 7, 2021
Pre-order: https://teenagemenopause.bandcamp.com/album/zwei

All Music, Sounds, Machines, Effects, etc by Heimat : Olivier Demeaux & Armelle
All words by Armelle
Mastering : Helmut Erler @ Dubplates & Mastering

Zwei

Premiere: Heimat - Weiss Du [TMR037]

K&S "Widow"

This classic minimal music album is now available again on vinyl for the first time since the 70s.

https://www.aguirrerecords.com/collections/aguirre-records/products/terry-riley-persian-surgery-dervishes-2xlp

Californian composer Terry Riley’s In C, first issued on vinyl in 1968, is widely acknowledged as a Minimalist landmark that altered the course of twentieth-century music. His influential album A Rainbow In Curved Air, which appeared the following year, is a vivid fusion of rock and raga, jazz and psychedelia realised through overdubbing on an 8-track machine which had recently been installed at the studios of Columbia Records.  

By the early 70s Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances, personal journeys towards a state of transcendence, were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on 18th April 1971, the other in Paris on 24th May 1972.

At the start of that decade Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition he found correspondences to modal and cyclic ideas that he was already working on. In 1971, as a way to learn more, Riley himself started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping the music heard on Persian Surgery Dervishes. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa, which Riley had first encountered in Europe during the early 60s, reverberates through these performances. Jazz, as conceived by such masters such as Bill Evans and John Coltrane, is also present as an enduring source of inspiration. 

The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley’s buoyant spirit asserts itself, spiralling out in ecstatic coils, as though liberated from the grip of body consciousness. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight. 

Echoes of Terry Riley’s inspired music have spread far and wide - into progressive rock, New Age and ambient soundings, film soundtracks, blissed-out electronica and dance-floor trance. His fluent and hypnotic keyboard playing can be heard as part of a continuum, transmitting energies from ancient and distant musical sources into the living here and now. Persian Surgery Dervishes is a significant part of that picture, a mesmerising record of a vital stage in Riley’s ongoing quest for connection with the universal mind and the sublime music that flows ceaselessly from it. 

“Music is my spiritual path. It’s my way of finding out who I am.”  Terry Riley, in 1976

Terry Riley - Persian Surgery Dervishes - Performance 02 Part 1

The Man In The Desert

The Big Combo - The Man In The Desert

"Don't worry, you won't feel a thing, hopefully" by Flogging A Dead One Horse Town.

From the forthcoming album, Listening Will Cause Death, released through MUZAI Records from December 8th 2017 on CD and digitally.

http://fadoht.bandcamp.com/
http://muzairecords.com

Listening Will Cause Death

Buy on CD

Flogging A Dead One Horse Town - Don't worry, you won't feel a thing, hopefully

Written in Berkeley Vale, NSW and Northcote, Vic
Recorded in West Geelong, Vic
Mastered in Rye, Vic
Pressed in East Brunswick, Vic

Family Dinner

Artist: Victorine Meurent
Track: Bucolic (Two Movements)
Album: Mèmoires historiques, Vol. 1

Released 10th December 2017
Cat: HG008

Mèmoires historiques, Vol. 1 is a four-track compilation featuring Victorine Meurent, False Moniker, Entertainment and Sofia Ozdravovna, released exclusively for the Tape Summit event at ACUD Macht Neu in Berlin on 10th December 2017.

Victorine Meurent - Bucolic (Two Movements)

artificial hell

R-325°313829819

Index - Kainos
iDEAL197 LP
Available soon
Distributed by Boomkat

‘Kainos’ is the debut album by Index, a new electronic music project by British musician Simon Scott, recorded in 2016 to 2019 in Los Angeles. Scott is a veteran British composer, field recordist, drummer and mastering engineer. 
Taking inspiration from the conflicting opinions of Brexit debates from the Houses Of Parliament, Scott fed these live streams into his modular synthesiser for improvising and composing with. These symbiotic jams formed the foundations for each Index track, with only the sparse nocturnal beats from a Roland 909 and transparent editing of each modular jam to accompany the synthesis. 

Scott’s association with shoegaze, as a member of UK band Slowdive, and ambient influences, present in his solo work on Touch and 12k, is replaced by the early electronics influence of Coil and Throbbing Gristle on Insides, early metal pioneers Black Sabbath rising on tracks such as Blackesh and Exit B. The throbbing 909 pulse on Sprinkles provides a Dubbed out groove that calls to mind Arthur Russell jamming with Basic Channel and the bottom heavy bass lines of dubstep on Countdown has is visceral and contains a brooding sample of Rachel Goswell’s (from Slowdive) voice sucking everything into the mix.
A key conceptual influence to Kainos is Luigi Russolo’s Futurist manifesto for music, The Art Of Noises who glorifies the use of “noise-sounds” and other nonconventional musical sounds. This captures the imagination of a modern culture immersed in ecological disaster (climate catastrophe) and surrounded by the constant noise of capitalism and consumerism. Other inspirations for this album were taken from literary and non-musical ideas such as Donna Haraway’s 2016 book ‘Staying with the trouble; Making kin in the Chthulucene ’ and its central tenet that “our task is to make trouble, to stir up potent response to devastating events on a damaged earth”.
Index is the musical expression of Scott’s profound discontent with the lack of equilibrium we have right now and how disconnected we have all become in relation to nature and each other. Kainos means “now, a time of beginnings, a time for ongoing, for freshness” (Haraway). It is born from ecological grief and political frustration at a time when electronic and ambient music is sitting too comfortably in safe areas of sonic experience with nothing to say and providing aural wallpaper that is safe and sterile.

INDEX - SPRINKLES (from "KAINOS" LP iDEAL197)

Stream : https://smarturl.it/evilhousepartywicked

Evil House Party is the new project of Emma Acs & Jacob Formann (Communions, Mini Esco), initiated after playing a string of shows together with First Hate in the summer 2019.

Their sound can be described as messy, dark and vibrant but somehow still captures the restless summer of swimming in the harbour and endless partying that was the time the band was created. It’s rich in attitude in a way that can be familiar with both rock n’ roll and eurodance.

The debut single ‘Wicked’ features a modern murderous ballad fleshed out in a bittersweet revenge pop anthem.

Evil House Party - Wicked

taken from "perfect stranger" cs on Trust Collective

Anasisana - I'm Doing It All For You

TOMORROW IS FOREVER

Berlin-based cassette label focusing on electronic and experimental music and aesthetics.

Victorine Meurent - Bucolic (Two Movements)

Holy Geometry

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