xxotica

CRITTERVSWORLD

A theremin cover of the musical piece "Falling" (OST Twin Peaks) composed by Angelo Badalamenti.

Fallin'

'Miaux is the operating handle of Belgium's Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus' Ultra Eczema label, but after catching her set at last year's Bruismelk festival, Feeding Tube had to “have” her new record. 
Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrackly nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mia's hands and keys. It's easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles' Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. 
Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own.'
Text by Byron Coley

Above The High Rays was composed for a screening of René Clair's sci-fi classic Paris Qui Dort. Released on a one sided 12" with etching on Feeding Tube Records and on cassette on Ultra Eczema.

Above The High Rays

Above The High Rays, 12" Feeding Tube Records / Tape, Ultra Eczema

Maja Ratkje - Crepuscular Hour part 1

Bells Burp

Buy the exclusive collaboration on Bleep: https://bleep.com/release/73657-mark-pritchard-x-kaitlyn-aurelia-smith-nownow-absolut-collaboration

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We believe that « everything is a remix »

Remixes are a major part of the electronic music history. The club culture take off on remixes, some of the greatest dance hits where made from remixing original tracks.
Our primary purpose is to highlight this exercise by offering the opportunity to artists to either work on a remix or offer a track to be remixed by an artist they admire. It is overseen and curated by independent music lovers and supported by The Absolut Company, a brand that is permanently involved in the field of contemporary arts and creation with a tradition of supporting artists such as Keith Haring and Andy Warhol at their very early stage of their career. The Absolut Remix project is dedicated to the art of combining or editing existing materials, to produce something new.

As a start, every last Thursday of the month, we will unveil a new remix, from a newcomer or a legend, from disco to techno or IDM and house music. And more to come...

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Kaitlyn Aurelia Smith
@western_vinyl | facebook.com/kaitlynaurelia | twitter.com/kaitlynaurelia

Mark Pritchard
@markprtchrd | facebook.com/markprtchrd | twitter.com/markprtchrd

Absolut Remix
@absolutremix | www.facebook.com/AbsolutRemix | twitter.com/AbsolutRemix

Buy on Bleep

Mark Pritchard x Kaitlyn Aurelia Smith - Now:Now (Absolut Collaboration)

A track from the album Terelan Canyon out 08/05/16 on Constellation Tatsu.

Mary Lattimore & Maxwell August Croy - Dominant Eye

From the album Selfless by Joni Void

Joni Void
Selfless
180gLP/CD/DL
CST125

cstrecords.com/cst125

Selfless

Joni Void • "Disassociation (Kyla's Song)"

As we embark on a new year more characterised by fear and uncertainty than hope and optimism, a chronic shortage of dissent can be detected in the artistic community amidst a harrowing socio-political climate. Yet the Salford-based collective Gnod have wasted little time in kicking against the doom and disquiet with everything at their disposal.

“It seems like we are heading towards even more unsettling times in the near future than we are in at present.” reckons Chris Haslam of Gnod. “2016 is just the beginning of what I see as the establishment’s systematic destruction of liberalism and equality as a reaction to the general public’s loss of faith in their system” .

Charged by this outlook, Gnod’s new album, ‘ Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine’ represents a hitherto uncharted level of antagonism and adversarial force for the band - an artistic statement as righteous, fervent and direct as its title. which far from being an echo of an anarcho spirit of yore, denotes a record  rmly entrenched in the psychic terrain of 2017.

“On the surface it could almost seem like there’s no political art movement out there to oppose what’s happening, but there is - we know there is” adds the band’s Paddy Shine. “Maybe that movement is struggling to  nd its voice as a cohesive whole right now but that will change. It has to change.”

Fuelled by their militant drive and unyielding ardour, ‘Just Say No...’ refracts Gnod’s harsh and repetitive riff-driven rancour through a psychotropic haze of dubbed-out abstraction, with Paddy’s incendiary vocal delivery to the fore. ,‘Just Say No... sounds like a record only Gnod could make - a band  ercely independent, never comfortable in one place artistically for any duration of time, always with their co-ordinates set on uncharted territory and the next challenge ahead, and delivering a monument of ire and iconoclasm.

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JUST SAY NO TO THE PSYCHO RIGHT-WING CAPITALIST FASCIST INDUSTRIAL DEATH MACHINE

Stick In The Wheel

GNOD - Stick In The Wheel

Visions Congo is yet another moniker from Discrepant’s head honcho, Gonçalo F Cardoso, taking Africa as a starting point to evoke the memories and re-imagined experiences of his 6-month stay in the region, back in 2015.

More info at www.discrepant.net

Mulago Sound Studio

Visions Congo - Mulago Sound Studio (LP preview)

Holotype Editions was founded as a means of bringing out music by some of the most unique and peculiar artists of the last decades. What could be more fitting for the imprint’s seventh release, than the duo of cult artist Ghédalia Tazartès and multi-instrumentalist, composer and singer Maya Dunietz.
Recorded live at Cafe Oto, in December 2013, Schulevy Maker documents the duo’s first live appearance. An amalgam of bizarre samples, concrete sounds, live piano and bells, juxtaposed with the otherworldly voices of Dunietz and Tazartès. At times light and humorous, at others dark and ritualistic, Schulevy Maker can hardly be labeled or tagged. The album title refers to Shoemaker-Levy 9, a disrupted comet that collided with Jupiter in July 1994. Tazartès and Dunietz freely reassembled the syllables of the comet’s name, coming up with this obscure title.
A truly life-affirming record, by two artists defying categorization, Schulevy Maker comes in a limited edition of 300 copies, pressed on black vinyl with a beautiful cover designed by We Are Still Bold and Beautiful.
http://www.mayadunietz.com 
http://julietippex.com/roster/ghedalia-tazartes/
Recorded live at Cafe Oto, London - December 2nd, 2013 by James Dunn Mixed by Daniel Meir
Mastered by Nikos Lavdas at Kiwi, Athens, 2017
Design by We Are Still Bold and Beautiful
Special thanks to:
Ilan Volkov, Stephen O'Malley, Hamish Dunbar, John Chantler, Noam Inbar

SCHULEVY MAKER

Ghedalia Tazartes + Maya Dunietz - Schulevy Maker (excerpts)

L.A. Witch
"L.A. Witch" CD/LP/DIG
Pre-Order: http://store.suicidesqueeze.net
Release Date: September 8, 2017
Label: Suicide Squeeze Records
www.facebook.com/lawitches
Artist Twitter / Instagram: @la_witch
lawitch.tumblr.com
www.facebook.com/suicidesqueezerecords
Suicide Squeeze Twitter / Instagram: @suicidesqueeze
www.suicidesqueeze.net

L.A. Witch

Kill My Baby Tonight

Couloir Gang / Zuur Kool

Label / Suara Papua
Ref / SUAP 8

2017
Ravi Shardja : Bass, scratch synth, transverse flute, lap steel guitar, tapes, voice.
&
Jean-Marcel Busson : Rythm boxes, Synthesizers, hand-made electronics, elecrtic guitar, voice.

All tracks composed, played, and mixed by Couloir Gang

Recorded by Xavier Roux between 2014 and 2016 at Satante, Brussels, and Papua Barat, Montreuil.

Mastering and cut by Fred Alstadt

Art cover, typography and printed by M.U.R.R, at Pantin.

With help of Attila Tralala

only 300 copies

Zuur Kool

Zuur Kool Promo Side B

From The Great Barrier Reef out in July 14 th 2017 on cassette and digital

The Great Barrier Reef

Sunmoonstar - Pelican Lighthouse (Cassette & Digital July 14 2017)

Buy 12" - https://vitorhublot.bandcamp.com/album/kess06 / 
Discogs - https://www.discogs.com/fr/Vitor-Hublot-KESS06/release/10676222 /

Originally issued on "185 Millions De Francophones Et Moi, Et Moi, Et Moi…” LP, Psoria Discs, 1986.
This Belgium composer originally released all his music by himself on Psoria Discs. Opened the label in 1983 and never closed it as we can see in 2011 a tribute dedicated to Georges Brassens. Here, Kess Kill reissued selected tracks from an cold, old minimal album composed by Vitor Hublot accompanied by other musicians. This is a cinematic and mechanical piece we can easily illustrate with curious flashback-s-.

KESS06

Vitor Hublot - Piron N'veut Nin Dinser (KESS KILL)

Its been a long time coming and finally after 5 years in the making we are very proud to have the chance to present to you instrumental music of a different kind created by the iconic Brazilian musician - Camarão.      

One of the very first Forró songs I ever heard was Camarão’s “Retrato de um Forró,” courtesy of a mix that Fred Thiphagne – founder of the Goma-Gringa label – had made for the music blog Les Mains Noires. But it wasn’t until my friend, the Australian DJ Carlo Xavier, dragged me to Brazil that I got hooked.

Our Brazilian record safari started in Belém, the capital of the Pará state in the north of the country, and although Forró music originated in the northeast of Brasil, it was here in Belém that my Forró education began. 

In the first two days of our trip we had the good luck to bump into a record stand at Praça das Mercês, in the old part of the city; its owner, known as Max Alvim, is considered to be one of Belém best record dealers, and he certainly lived up to his reputation. We found many records of interest almost immediately, but Max advised us to leave a want-list and come back a few days later. When we returned, Max had manage to lay his hands on many of the Carimbó and Siriá LPs we had been looking for. But what surprised us most about Max was his extensive knowledge of Forró music and where to find it. Two weeks into our adventure, not only had we managed to find most of the Pará music we were after, but we also ended up with about half of Camarão’s musical output. 

Some of Camarão’s tunes had a wonderful sense of humour, while others sounded as if they had come from the soundtrack to some imaginary Brazilian Western movie, but all of them were united by a special drive and positive energy. The music surprised me, and anything that tickles my curiosity is destined to be thoroughly scrutinised.

We started toying with the idea of a compilation and decided to travel to Recife, not only to continue our Forró education but also to meet Camarão himself. 

During our stay in Recife, whenever the word Forró was spoken there was always someone coming out of nowhere eager to explain how the word came to be. Apparently in the 1940s, so the popular story goes,  British train-line manufacturing companies based in northeastern Brazil would throw parties for their employees and the best thing about these parties was that everyone was invited. These events were advertised on the radio and in the newspapers as being “for all” which, when spoken with a Brazilian spin, became “Forró”.

But according to historians this explanation is nothing more than humorous folklore. The term Forró, so they say, comes from the bantú word Forrobodó and had already been used in a song called  “Forró Na Roça” composed by Manuel Queirós and Xerém in 1937, five years before the British had arrived. Even before that, in 1912, Chiquinha Gonzaga composed the song Forrobodó, which was classified as a burlesque piece and earned her the Mambembe Prize in 1915.

No matter which version you decide to believe, Forró developed into a general term referring to a group of musical styles, including Xote, Marchinha, Coco de Roda, Baião and other mixtures of African, European and indigenous rhythms. 

We had manage to arrange for an interview with Camarão who was notorious for being a man of few words. His peers would say that “his accordion speaks for him”. We had high hopes that Camarão would not only shed some light on his own legacy but also give us a sense of the vibe in Pernambuco during the heydays of Forró music. We met Camarão at his house in Recife and found him in excellent spirits.

Interviewed by Carlos Xavier himself on the 29th of November 2012, Camarão gave us an in-depth look at his own musical story in the context of the state of Pernambuco during the 60s and 70s. We also received about 50 pictures, half of which have been used to craft the beautiful LP/CD booklet that will come with the music.

Camarão - Ma Nah Ma Nah

2008 track via the Tidy Kid vault. Releasing a new album under Marly Lüske this week :)) It is a hot hot today. Picture is of my current setup.

Grab the files here: https://mrtidykid.bandcamp.com/album/toxic-feelings
Stream it here: https://open.spotify.com/album/60rNCZ9SbJIaCHZTkubxkd?si=mWl1X_p0T8-61V11RsgJuQ

Grab the files

Gidget Controller 75

Preview from Félix Blume's Death In Haiti LP. A portrait of funeral customs in Port au Prince, Haiti.

more info at www.discrepant.net

Funeral Brass Bands & Sounds from Port Au Prince

Félix Blume - Death In Haiti: Funeral Brass Bands in Port au Prince (LP preview)

RECORDER PLACED NEXT TO THE MINI BASS DRUM
SONG PLAYED

HENRY CARAVAN - THE TONGUE, THE BRAIN, THROAT AND THE STOMACH

Preview of Sugai Ken's new LP, a kaleidoscopic radio play inspired by the traditional Japanese art of Mingei.

more info at www.discrepant.net

xxotica

Max Surin