Love All Day is proud to present the debut LP offering from Secular Music Group. This project emerged from the home workshop of Christian Ruggiero, a renowned composer for film and television with a passion for classic recordings and legacy studio technology. He teamed up with his old studio partner, multi-instrumentalist Yannis Panos to make a record in the old way; as a group of musicians in a room playing live to magnetic tape. This record would channel their shared interests in free-jazz, library music and American minimalism. The group was rounded out with the additions of guitarist Ted Morcaldi, reedist Greg Lapine and percussionist Tim Walsh.

Each of the players brought several sketches to the sessions, which served as the central point of departure for these improvisations. Ruggiero payed tribute to a recently departed friend, capturing the proceedings on a vintage tape machine bequeathed to him. The results are deeply inspired, echoing the pastoral grace of UK jazz, the starkness of the European avant-garde, and the inspiriting sounds of the great ‘60s and ‘70s instrumental ensembles.

This LP package features a jacket with artwork and design by Emily Larned, Mastering by Jae-soo Yi of Sonority Mastering and lacquers cut by John Golden

Edition of 150

ORDER

Secular Music Group - Volume 1 (EXCERPTS)

Secular Music Group returns to Love All Day with Volume Two, a long-playing and exceedingly strong follow-up which both condenses and expands the vision they began to lay out on last years acclaimed Volume One (recently reissued by Spanish label, 2 Headed Deer). Presenting a slightly rearranged cast of musicians, as guitarist Ted Morcaldi was unable to attend the sessions (but thankfully contributed a composition to the album), they were joined by multi-instrumentalist Will Berman (MGMT) stepping in as the fourth member of the ensemble, alongside Greg Lapine, Yannis Panos, and Chris Ruggiero. Recorded live to 4-track analog tape with exclusively 1970s-era technology over just three days in the studio, with a final track, “Lake-Sea”, laid down live at the beach near the home of member & lead audio-engineer, Ruggiero. You can hear the waves lapping at the shore in the background, the tidal motion of the water acting as the ‘conductor’ of the piece. The songs in general this time around are much more tightly structured, having somewhat abandoned the free-form minimalism of Volume One for a heavier emphasis on rhythm and melody. Piano is more foregrounded throughout, with a subtle and introspective sounding spiritual jazz element characterizing the horn arrangements. Still drawing influence from 1970s French and Italian library music, there’s also now a lilting and haunting folkloric quality that’s been introduced to the Secular Music Group sound world —the through line from the previous work being a highly intentional and thoughtfully interior approach to improvisation where the meticulous set-up of the studio and audio capture almost becomes a fifth member of the ensemble. As great as we find Volume One (and we find it very great indeed), by any measure Volume Two is a great leap, more immediate than its predecessor, more lived-in, the ideas more fully developed and flawlessly executed at every turn, where despite any 1970s touchstones and influences the end result feels both startlingly contemporary and timeless.

Secular Music Group: Vol. 2 (EXCERPTS)

Amanar : Tenere

A collection of Norm Chambers' recent works
compiled in his loving memory

please explore these and more at https://panabrite.bandcamp.com/

1 - "Hypoesthesia" from Spectrum Garden
2 - "Threads II" from Fragments From A Personal Museum
3 - "Garden of Nephthys" from Encyclopedia of Civilizations: Egypt
4 - "Resonant Foam" from Grid Flora EP
5 - "Figment" from After Hours
6 - "Fold" from Spectrum Garden
7 - "Bathyal" from Seaside Resonance
8 - "Cathedral Canopy" from Mirage Colony
9 - "Concentric" from Air Example
10 - "Bells For Jun" from Idea Region
11 - "Birdbath" from Fragments From A Personal Museum
12 - "Seaside Variation" from Topography
13 - "Sargasso" from Seaside Resonance
14 - "Vox Check" from Topography
15 - "Echo Donk" from Facets
16 - "Precipice" from Spectrum Garden
17 - "Zhp" from DK22
18 - "Loop2" digital single
19 - "Aida" from Mirage Colony

N Chambers Bandcamp

N Chambers - Continuous Monument

Some things heard over some years, some connections made in your mind. Identity raps, avant-garde smooth jazz, vibrational affirmations, 21st c. protest music, new age pop songs. 

Artwork: Herbert Gentry "Opened Eye" Lithograph, 1983
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Ihsaan Carter - Baby
Doctor Wize - Getting Tight
Carlyle Williams - Wings To Fly
Otis Houston Jr. - My Name & My Word
Frank Part 2 Mulla - I Can’t Breathe
Onyx Ashanti - Slow Funk On Mars
George Braith - Hoagies & Wings
Virgil Work, Jr. - Baby On Board
Ishmael Akbar, Akbar The Great - Who Am I
David F. Gordon - There Will Be Better Days
Ron Rahsaan Warwell - Feel Free!
LeRoy White - Judah The Hammer (Excerpt)
LeRoy White - Salaam’s Song
Lowell Davidson - Make Sure She’s Well Fed

M Klausman - Opened Eye mix

Tim ‘Nev’ Prezzano was born in June, 1969. A lifelong resident of New York, he studied Photography, Philosophy and American Art, before turning his attention to early computer language and music theory, and how it related to Human Psychology. Nev was relatively unknown until a string of mysterious releases appeared on the UK based label GPR, specialising in Techno and Electronic music from the early 90’s. They were 6 track mini-LPs; musical odysseys that had shades of early IDM, techno, electro and house. Nev’s musical philosophy was to extract the soul from the machines he worked with – he didn’t believe in artificial intelligence, but software touched with life. As quoted from a review on Discogs for one of Nev’s releases, “no amount of digital trickery can replace an artist with some synths, a sampler and a few good ideas”.

For Nev’s Deep Beep EP, this observation is particularly accurate. Originally released in 1991 on the New York based label Metamerism, it came at a time when artists were experimenting with instruments and machines, blurring the lines between genre or style to get to the soul beneath their fingertips. The Frankenstein-esque nature of this sound can be heard across this sprawling 3 tracker, and the original EP has garnered cult status online.

The title track, ‘Deep Beep (How Deep Can You Bleep?)’, is a sample laden, rolling house track that meanders and morphs around different variations on a theme, never quite ending up where you expect it to. This adds to its charm, and before you know it the track has spiralled by, leaving you and your dancers in a frenzy. The other tracks on the EP are a peek into the darker side of Nev’s sound. Early on in ‘Deep Beep (How Deep Can You Creep?’, a voice warns from amongst the flying drums and bass that you can’t get ‘gripped by the hypnosis of the volume’. It’s easier said than done, as played loud this track can cause some seriously headsy dancefloor moments. Deep Beep (How Deep Can You Sleep?’ is the chugger of the EP, using the same samples, breaks and basslines from the other tracks, but cushioned by gorgeous pads and melody lines that create a lilting respite after the chaos. Nev’s ability to juggle the same musical elements across 3 tracks to create something so fresh and new each time is a testament to his foresight as a musician and producer.

This reissue is released in collaboration with AGT records
All proceeds from sales will be donated to JDRF
In loving memory of Tim Prezzano

Deep Beep

Order

Nev - Deep Beep: How Deep (Can You Sleep)

This Is Enough About The Being

The Deeds Of Zipacna

Ilb'al

Secret Courts - Court Two

Two-C-b-102522 - d. stine & Doug Fogelson

Two-B-a-102522 - d. stine & Doug Fogelson

Six-A-021523 - d. stine & Doug Fogelson

SMG - Seven Cane

SMG - Auilix's Place

SMG - Bearer, Begetter

'no one notices the fly' is the latest release from Chicago based multi-disciplinary artist, Zander Raymond. Raymond, who has authored or appeared on around a dozen albums (give or take a couple) in the last half-decade, here continues to refine his approach to careful and active listening and music making. On this collection he’s occasionally joined by past collaborators and deep listening comrades Lia Kohl and Matt Sage. Opening with “just keep going”, a brief recording of a reaching and plaintive, out-of-tune violin whose amateurish playing nevertheless delivers a certain depth of feeling. It also possibly acts as a bit of a mission statement; that here we will be shown that we can find meaning from the barest of means. Every song on this record  is slightly cracked and seemingly concerned with detritus, each piece a careful and layered accumulation of what in other hands might be solely considered cast-off sounds. The songs could almost be the aural equivalent of the Japanese sculptor Yuji Agematsu’s daily collection of “desirable street debris”, which he constructs in exquisite, miniature arrangements inside the empty cellophane sleeves of old cigarette packages; each piece a new and unique, dazzling landscape, a whole world unto itself. Through Raymond’s improvisational approach, which employs live sampling and imaginative filtering, the most mundane sounds are refracted into a new, if fleeting, reality. The micro becomes macro, the quotidian rendered into the sublime. In these songs we might find certain doors opening, wind breezing through, steam rising, or restless feet becoming grounded. A piece will sound stable, until it’s not. Patterns are set until small insertions and intrusions interrupt, and maybe a new pattern will form. Or maybe not. One of the minor miracles of this album is that it appears, via sound, to render entropy in action. Across its fourteen tracks, we find a thoughtful, modest reminder to take notice of the aleatory nature of our lives, to maybe even “notice the fly”, as it were.

No One Notices The Fly

no one notices the fly

zander raymond: for all we know

1.Priscilla Ermel - Andares
2.David Cosmo - Rainbow Dance
3.Planetary Peace - I Am That I Am
4.Pepe Maina - Spring Song
5.Joanne Forman - Codex
6.Muziekkamer - Terugreis
7.The Bill Desmond Tone Poem - Spirit Nexus
8.Ernest Hood - Night Games

"Contents include but are not limited to Rajneesh jazz meditators, Shiva transmitting synth percolators, Private hissertronics, Gamelan ethnohotties, Canned drizzle, intimate aquatic moments,Eno & beer enthusiasts, Park Slope kora mini-moogers, Gurdjieff disciples, Tama Do improvisers, Mayan calendar ocarina two-steppers, Bamboo flute crafter blenders, Yeti spatial sound trail mixers, New Mexican bolo-tie making synth gurglers, Megalith tinklers, Occult bookshop proprietors, German-Texan ecological bumper-sticker peddlers, Front Range Himalayn throat singing heart bubblers, Southwest overtone builders & Piano playing Kansan Eck proselytizers."

Gown Control I by Michael Klausman

1/ Fabien Maman – Improvisation on the Greek Modes
2/ Carolyn Margrete – Dorian Mode
3/ Alan Hovhannes – Love Song Vanishing Into Crickets, Op.327
4/ Alain Kremski – Quête
5/ Dominique Lawalrée – Sorry
6/ Richard Collins – The Celestial Wind
7/ Gary Knox – Ocean Cave
8/ Janest Sherbourne & Mark Lockett – Slower Than Molasses
9/ Tom Ehrlich – Gamelan (for Aliah)

"Contents include but are not limited to Rajneesh jazz meditators, Shiva transmitting synth percolators, Private hissertronics, Gamelan ethnohotties, Canned drizzle, intimate aquatic moments,Eno & beer enthusiasts, Park Slope kora mini-moogers, Gurdjieff disciples, Tama Do improvisers, Mayan calendar ocarina two-steppers, Bamboo flute crafter blenders, Yeti spatial sound trail mixers, New Mexican bolo-tie making synth gurglers, Megalith tinklers, Occult bookshop proprietors, German-Texan ecological bumper-sticker peddlers, Front Range Himalayn throat singing heart bubblers, Southwest overtone builders & Piano playing Kansan Eck proselytizers."

Gown Control IV (Piano) by Michael Klausman

Recorded over a six year period, Sabbatical’s Sundown germinated in the cracks that separate the disparate moments of a life, and found its rhythms nursed in the openings that emerged between other projects. In those spaces – periods of exception from the flow, journeys, downtime, lacunae – Sundown waited for its creator, gathering energy, until it grew to become the centre point around which Sabbatical’s other activities would begin to orbit.

A sabbatical is itself a lacuna. It is the time that is set aside. And our sabbaticals, our downtimes, long or short, are both temporal and spatial – they are often characterised by journeys, or the lack of them. We take breaks and make moves, or we stay put and cease constant movement: sacred time always demands sacred spaces, spaces within which normal rules are temporarily repealed, reversed, or augmented. Music is the magic prism that fixes such fragments of time in suspension and holds them, crystalline, up to the light so that they can be felt and understood again. And its focus can be precise: within the mirrored interior of a song, music can preserve also the locations through which time passes, or which might themselves be said to have passed through the slivers of time that music holds.

And so Sundown recalls not only traces of the time in which it developed, but also the places through which this time was poured. Sabbatical’s palette seeks not to evoke but to recover and hold the glittering light on journeys to ice-fringed points north, to arrest in analogue the frequencies of evening light, to capture as reverie the marchlands where time is spent in space in such a way that their interrelationship becomes blurred (for is not a journey’s length typically measured in time and distance at once?). The earth moves around the sun – by this spatial relation we find a temporal measure – but we apprehend it perceptually as the movement of the sun around the earth, and the effort of adjusting what we perceive to what we know is similar in kind to recognising that what we had felt peripheral has secretly become the centre of our efforts. As flowers turn their faces toward the sun, so we turn toward the work that draws us, and at sundown we close our books and take our daily sabbatical of sleep.

Sabbatical - Sojourn North

Sabbatical - Skyline

Recorded over a six year period, Sabbatical’s Sundown germinated in the cracks that separate the disparate moments of a life, and found its rhythms nursed in the openings that emerged between other projects. In those spaces – periods of exception from the flow, journeys, downtime, lacunae – Sundown waited for its creator, gathering energy, until it grew to become the centre point around which Sabbatical’s other activities would begin to orbit.

A sabbatical is itself a lacuna. It is the time that is set aside. And our sabbaticals, our downtimes, long or short, are both temporal and spatial – they are often characterised by journeys, or the lack of them. We take breaks and make moves, or we stay put and cease constant movement: sacred time always demands sacred spaces, spaces within which normal rules are temporarily repealed, reversed, or augmented. Music is the magic prism that fixes such fragments of time in suspension and holds them, crystalline, up to the light so that they can be felt and understood again. And its focus can be precise: within the mirrored interior of a song, music can preserve also the locations through which time passes, or which might themselves be said to have passed through the slivers of time that music holds.

And so Sundown recalls not only traces of the time in which it developed, but also the places through which this time was poured. Sabbatical’s palette seeks not to evoke but to recover and hold the glittering light on journeys to ice-fringed points north, to arrest in analogue the frequencies of evening light, to capture as reverie the marchlands where time is spent in space in such a way that their interrelationship becomes blurred (for is not a journey’s length typically measured in time and distance at once?). The earth moves around the sun – by this spatial relation we find a temporal measure – but we apprehend it perceptually as the movement of the sun around the earth, and the effort of adjusting what we perceive to what we know is similar in kind to recognising that what we had felt peripheral has secretly become the centre of our efforts. As flowers turn their faces toward the sun, so we turn toward the work that draws us, and at sundown we close our books and take our daily sabbatical of sleep. 

Sabbatical - Drifting In A Dream

Recorded in 2012, Secret Courts documents the latest phase of the ongoing collaboration between Celestino and Jams P Valentine, a partnership that also yielded 2009’s Sky Burials (SB001).

The compositions on Secret Courts were created through a staggered, elastic process, with Celestino weaving sonic backcloths on which Valentine could embroider a response. The production is conversational and complementary, but yields a panoramically conceived sound world – the initial absorption in fine texture navigates the sound toward wider vistas, and tracks that emerge in near ascetic austerity are gradually suffused by a tonal warmth that allows softly rhythmic forms to raise themselves. A deeply integrated matrix of live instrumentation, samples and field recordings gift the music buoyancy and warmth, while the shimmering sonic fabric that rides beneath the surface stretches itself into new forms. These forms in turn open new and unfamiliar time-spaces in the music, channels in which feeling and thought can gather and flow forth in gentle catharsis.

Who can know what judgements are made in the secret court of the heart? Friendship and collaboration are processes which force the shabby locks of the self, dispelling the illusion of the discrete individual, requiring it to open itself to other souls, other thoughts and feelings. Communication, musical or otherwise, is less an interface between separated beings, more the generation of an emergent, agile intelligence that exists in the interstices: between minds, not within them. Secret Courts is a transmission on this wavelength – a message from the place where friendship and enmity vibrate in tune, their music suspended in the spaces where opposites dissolve and differences can signal only that they have been overcome. Such spaces have no coordinates, but sound is the truest guide to them, for the experiential drop- outs that music wrests from time reveal their surest point of entry. And where the silent pulses that flow within studio hardware can be harnessed, visitors can be conducted along wire-blind trails toward the sacred precincts where sound travels with spirit and washes the soul. It is by these paths and in these spaces that Celestino and Valentine hope to arrive with us at the secret courts.

Secret Courts - Court Five

Sabbatical - Live Feb 2016

Love All Day is proud to present a limited cassette reissue of a one of a kind, completely original collection of songs created by two American expatriates living in London in 1980. Recorded in their living room on a Teac tape machine, Synthesis was entirely composed and performed on a mail order Serge synthesizer kit that Planetary Peace (the husband and wife duo of Will & Kalima Sawyer) had built themselves. Originally pressed in a minuscule edition that was mostly given away to friends and colleagues, this brilliant piece of work was almost entirely unknown until Sound Recorder/Record Collector Brett Becker chanced upon one of the only known copies in existence at the yard sale of a former New Age disc jockey in Santa Fe, New Mexico in 2014. There’s a very palpable DIY-vibe that runs throughout the album, which gets filtered through a visionary lens where slightly off-kilter devotional folk songs expand into majestic synth excursions that reach for the outer edges of the cosmos. It’s a strange, beguiling collection of songs where two kindred spirits are operating simultaneously on a higher plane, unlike any other ostensibly “new age” album we can think of  —especially in the the way that it so embodies such a sense of wonder. Now living in Ha’iku, Hawaii on the island of Maui, they operate an organic farm and have carried on their DIY roots by creating a solar powered studio they built themselves in which they continue to record to this day.

—-

“We recorded it ourselves in London, fall 1980, on a TEAC reel-to-reel tape deck, in our living room. We had arrived in London with all of our equipment, intent on making this recording before the arrival of our first child in Mar, ’81. Through grace or luck, we found a small cottage near Hampstead Heath (right in the heart of London) that was quiet enough in the evenings to do the work.  
Because we were (are) into harmonic tuning, rather than equal temperament, we had searched out an instrument that we could tune ourselves; there was an engineer, Serge Tcherepnin, in San Francisco who had developed a kit for an analog synthesizer which fit our specs. We spent a few months prior to leaving for London laboriously building it, soldering it together and learning how to play it. It required patch cords that manually routed the signals in various configurations, connecting oscillators, filters, etc. Now of course, this is all done digitally . . .
We used a TEAC reel-to-reel tape deck, Shure mics and maybe some other stuff, like reverb, all of which we brought over with us. The funny part is that as we left S.F., our flight was delayed for several hours while they de-planed everyone in a remote area on the tarmac and looked through everyone’s luggage. They said there had been a bomb scare, and we figured out quite a bit later that it was our synthesizer that had likely triggered the alert. That was SO out of everyone’s context at that time, as this was before “terrorists” had been invented!
…
Once our daughter arrived, we more or less dropped it all; it is actually a minor miracle that you happened across one of the very rare cassettes that we got around to distributing!”

This limited edition cassette features a reproduction of the original artwork and remastered audio by Jae-soo Yi of Sonority Mastering

Planetary Peace - Country of Love

Planetary Peace - Song Without Warning

Planetary Peace - I Am That I Am

SKY BEARS - 11:42 pm-11:58 Nov 29 2011

From "Touch Our Hearts" Cassette
Remastered by Jae-soo Yi of Sonority Mastering

Planetary Peace - To The Old Form

Our friend Michael Klausman made a mix for Earth Day, fifteen songs, all but one sourced from privately released folk albums & mostly released in the wake of the first Earth Day back in 1970. Features both protest songs & reflections on nature in general. Some recurring themes include; fears of DDT, overdevelopment, the loss & destruction of open space, the proliferation of garbage, to nothing less than the threat of nuclear annihilation.

All Muir's Children by Michael Klausman

N Chambers - Automatic Bog

N Chambers - Air Example

Go to YouTube or any of the streaming services and you’ll find hours upon hours of commercially released wind chime recordings, often purportedly of a therapeutic nature. Nature chimes, Divine chimes, Calm chimes, Dream chimes, Flowing chimes, and so on and so forth. And while we agree that there is somehow an inherently peaceful aspect to the sound of chimes, these types of releases tend to entirely remove the aleatory tension to be found anytime a chime is interacting with its surroundings. Hermetically sealed off, a stray clang filled with gust never to found, they largely represent a man made notion of order imposed on nature.

It was a chance YouTube discovery however that led us to the curious phenomenon of users uploading their own cell phone video recordings of chimes, from which this mix is entirely derived. The video’s lengths could range from anywhere from fifteen seconds to ten minutes or so. Some videos had no more than one or two views, others thousands. We found familiar suburban porches with chimes purchased from Costco, to windswept Texan plains with homemade contraptions made of sheet metal pieces. Bamboo chimes, chimes made of shells, forks, car parts, or sea glass —chimes both exquisitely hand crafted, or roughly assembled DIY style. Despite the fact that these are in no way slick and instantly palatable recordings, each uploader obviously felt compelled to proudly share their own softly tinkling corner of the universe. We subtly quilted together with minimal interference somewhere in the neighborhood of fifty of these videos, through which whose sounds you can now discreetly travel. We think the result is a strange, intimate landscape, in many ways very peaceful indeed, but where a stray blast of wind could be coming around the corner at any moment.

All proceeds from this release will be donated to the American Bird Conservancy, that their songs can continue to join the sound of the chimes before it’s too late.

Edition of 80 real-time dubbed cassettes on chrome tape featuring risograph printed j cards on French paper

CHIMES

Chimes Side A

Resurrected after a three year absence, 'Gown Control VI: Loose Threads' is a sequel of sorts to the earlier piano focused volume. This edition features a psychic piano player, two choreographer/composers, a soundtrack to dolphins en route to Arcturus, a couple of pastoral harp interludes, special friends and Nederland inspirations.

LOVE ALL DAY

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