This song is crazy bro it's pure energy, the bass and the drums are ultra cool, it makes me wanna listen it live, I bet it's pure craziness haha

Edwin Mathis White (from the band Tonstartssbandht) creates a capella DIY gospel as Eola using loop stations and antiquated vocal processing effects pedals recorded to tape. On stage or on tape, Ed's performance is dang spiritual. Edwin currently lives and grew up in Downtown Orlando, Florida but has spent the past 11 years living mostly in NYC, and sometimes in Montreal & Baltimore. The album Dang drops Sept. 23rd with Leaving Records on Vinyl, Cassette, and Digital. Blessed be.

BUY VINYL!

Eola - This Is The World

Mark Renner - James Cowie (The Portrait Group)

Learn more: https://smarturl.it/rervng11

Taken from Few Traces.

©2017 RVNG Intl. / https://igetrvng.com

Few Traces

Mark Renner - James Cowie (The Portrait Group)

From the Neptunalia LP compilation (LAL-92 / IKU-054). Edition of 300. Release day hopefully July 23rd.

NEPTUNALIA, a festival of Neptune, celebrated at Rome, of which
very little is known. The day on which it was held, was probably the 23rd
of July. The festival was celebrated with games. Respecting the ceremonies
of this festival nothing is known, except that the people used to build
huts of branches and foliage, in which they probably feasted, drank, and
amused themselves.
From a "Dictionary of Greek and Roman Antiquities" by John Murray, London,
1875.

Side A:
David Edren - Whale Bubbler
H. Takahashi - Deep
Nuslux - Hippocampi
Olli Aarni - Eliksiiri A & B
Ilpo Numminen - Speleothem

Side B:
H. Takahashi - Coral
Non Local Society - Latiaxis Mawae
Kuupuu - Jään alle
Marja Ahti - Silent Floor
Miaux - Rip Current at Avalon Beach

Compiled by Roope Eronen
Cover Art by Leon Sadler
Mastered by Tommi Keränen
Laquer cut at Duplates and Mastering

Lal Lal Lal & Ikuisuus, 2018

Miaux - Rip Current at Avalon Beach

02 Gnoomes - Sword In The Stone

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

Released by Felte Records November 13, 2020
Produced and Mixed by Pete Kember (Spacemen 3 / Sonic Boom)
Mastered by Rafael Anton Irisarri
Cello in Sun by Lucinda Chua
Voice Samples in Gloss Trick by Daniel Door
Artwork by Nika Milano, Manuela De Laborde, Angela Suarez
Gaphic Design & Layout by James Huw King

Kids Talk Sun

PRE-ORDER ALBUM

Sandstorm

'In The Stone' is taken from Normil Hawaiians' new 7" out September 11th through Upset The Rhythm.

https://upsettherhythm.co.uk/

When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

Throughout this time, Normil Hawaiians revisited their original songs for these live performances. However for a group always so interested in evolving their sound and seeking nuance, it comes as no surprise that they shirked the idea of a faithful retread of old material in favour of reimagining their songs. The group experimented by pushing their songs into new inventive dimensions, still progressive at heart, but now imbued with a cosmic uncanny. A cinematic, even pastoral approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world. With this conducive atmosphere brewing, the band’s first new songs in decades started to emerge.

Being far-flung across the UK, the Family Hawaii encamped to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland with the intention of recording new music. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains how the spirit of the location was such an inspiration to the group during this initial recording session: “Our time immersed in the place and the unique energy it generated in us allowed us to write ‘In The Stone’. It goes right back to our first album, this need to document experience before it passes over and eludes us. We were grabbing at the musical ether and letting it shape itself through the band.” From loose, improvised sessions and reflective periods of listening in Tayinloan, Normil Hawaiians captured the moment. ‘In The Stone’ is a motorik thrill of distorted guitars, locked rhythms and morphic resonance. Guy Smith is joined by Zinta Egle on vocals, skilfully sharing lyrics informed by Alan Garner and Nigel Kneale’s ideas around recurring events being linked to place and historical artefact;  a kind of residual haunting known as ‘Stone Tape’ theory. In keeping with the context of the song, sounds from several previous live recordings of the track were woven into its present being. Flipside ‘Where is Living?’ is a decidedly more delicate affair of questioning lyrics and eerie traces, droning strings and impressions smudged. This resultant 7” is a tantalising glimpse of Normil Hawaiians now, an echo from the past, an echo from the future.
 
Website: https://normilhawaiians.com/

'In The Stone / Where Is Living?'

Normil Hawaiians - 'In The Stone' 7"

Ballad 5

'Reach Out' is taken from Sleeper & Snake's forthcoming album 'Fresco Shed', out Sept 25th through Upset The Rhythm & LuLu's Sonic Discs!

Available to pre-order here: https://upsettherhythm.bigcartel.com/

Fresco Shed

Sleeper & Snake - 'Reach Out'

FLIES 44
Bruno Nicolai - GEMINUS
LP

Four Flies are proud and honoured to release the first vinyl reissue of Bruno Nicolai’s outstanding original score for GEMINUS, a 1969 Italian TV mini-series directed by Luciano Emmer and starring Walter Chiari, Alida Chelli, and Ira von Fürstenberg. 
Originally released under Italian label Gemelli, Nicolai’s soundtrack has been remastered from the original master tapes and comes in a glossy, tip-on style jacket featuring the restored original cover artwork, as well as extended liner notes by film critics Francesco Cesari and Roberto Curti. 

Bruno Nicolai composed and directed an eclectic score that brings together different music genres and influences, from 60s beat, psych, and prog rock to baroque and experimental music. He did not hesitate to mix classical forms and structures with new instruments and remarkable, eccentric arrangements. In ‘Giano’ (Janus), the interplay between a distorted electric guitar and a hypnotic harpsichord creates a strange, somewhat troubling ambience. The delicate, celestial voice of Edda Dell'Orso leaves its unique emotional imprint on the most lyrical piece in the soundtrack, ‘Tema Barocco’ (Baroque Theme).
The main theme ‘Il cielo cade’ (The Sky Is Falling) features a luxurious arrangement and stunning orchestration enhanced by enchanting vocal harmonies sung by ‘I Cantori Moderni di Alessandroni’. 
In other pieces, such as ‘Larve’ (Larvas), ‘Il sognatore’ (The Dreamer), ‘Eclisse di luna’ (Moon Eclipse), ‘Visioni’ (Visions), ‘Catacombe’ (Catacombs), and ‘Notti romane’ (Roman Nights), expressive and experimental solo passages played by instruments such as the vibraphone, sitar, harmonica, or percussions, contribute to the sombre, mysterious atmosphere of the score as a whole.
Limited edition, 500 copies worldwide.

R.D.C.

LICE

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