2017

[...] lightly explosive rhythmically, but with a somewhat dark
textural centre. The You Had Me At Hello trio sound great on their own, but the conceptual basis of these singles is pretty massive. It'd be great to have a jukebox full of them.
Byron Coley // The Wire (UK)

You Had Me At Hello - Waiting For Sunday

Prime Unity

Artist: TOMAGA
Album: The Shape of the Dance

HITD 030
LP / CD / DL
 Release date: 19th September 2016
Released in partnership with Negative Days

Label, orders: www.handsinthedarkrecords.com

All songs written and performed by Valentina Magaletti and Tom Relleen

TOMAGA - A Perspective With No End

Taken from the LP Gegenschein (PP26)

Gegenschein was recorded at the Franciscan Friary in Limerick city. Áine gained access to the Friary in 2012 and explored both pipe organ and space in it’s disused state. What becomes of a sacred space after the dispersion of the spirit, after the light has been switched off, after the deconsecration?

Áine O'Dwyer - A World Ending (excerpt)

RELEASED ON CASSETTE BY EGG PAPER FACTORY March 21, 2017

A1. The Painters - Supermoon Lunar Eclipse (2:31)
A2. The Painters - Growing Pains (2:55)
A3. The Painters - Finish Line (3:51)
A4. The Painters - When The Fog Lifts (6:50)
B1. Carla Sagan - Permanent (2:02)
B2. Carla Sagan - Make Believer (5:35)
B3. Carla Sagan - White Noise (5:07)

FOR MORE INFORMATION PLEASE CONTACT
eggpaperfactory@gmail.com

Carla Sagan - Make Believer

Written and Recorded 2016-2017, Berlin.
Additional Vocals - "Wrestle All the Way Home" - MAUD
Mixing/Mastering/Additional Recordings (Drums) - Joseph Kelly
Special Thanks: Thea, Car, Mark, Tim, The Real Kelly Family, Iris, Everett, Phil.

March

ORDER LP - http://wharfcatrecords.com/store/pre-order-coca-leaf-deep-marble-sunrise
ORDER ON BANDCAMP - https://wharfcatrecords.bandcamp.com/album/pre-order-deep-marble-sunrise
ORDER ON APPLE MUSIC - https://itunes.apple.com/us/album/deep-marble-sunrise/id1224766296

Coca Leaf was a collaborative birthed in the hot Florida swamp years ago. It was mistakenly tossed into the garbage heap, left to simmer and rot, and has finally been scooped up with wings outspread, emerging anew from the shitfire into a reincarnated binge in the Big City. Deep Marble Sunrise was sculpted from a series of brain-fried sessions in NYC taking place over some hot Summer days at Figure 8 Studios.
The manic ramping-up and the inevitable come-down intertwine here. The party and the empty vaccuum that follows. For this LP, the group is comprised of multi-instrumentalists ZZ Ramirez (Destruction Unit, Ukiah Drag, etc), David Vassalotti & Carson Cox (Merchandise, etc), and Ben Greenberg (Uniform, etc). The cuts follow their impulses freely, coming up with a strange combination of hard funk, jazz, noise, no-wave, free improvisation, and dub.
For fans of Dad’s Brown on Brown, the great Neon Blud or any of the band members’ other groups, this is sure to be a summer favorite and soundtrack to all-night parties everywhere.

BUY LP

Coca Leaf - Riding Ice (from the Deep Marble Sunrise LP)

Another track from Köhn's new album 'Kreis Plön', out on KRAAK, on the 9th of June. Pre-order at kraak.bandcamp.com.

Almost 20 years ago Jürgen De Blonde debuted on KRAAK with the nowadays unfindable and almost visionary album köhn 1. It was the starting point for a vital and wondrous exploration that lead him over paths of glitch, idm, shoe gaze, hypnagogic pop, improvised music, straight forward synth music, field recordings and kraut. 

In the middle of this ungraspable adventure through contemporary electronic music, Köhn stands as a genuine artist that stayed true to the curious spirit of the DIY knob twiddling and boggling boy he once was. 

KRAAK is proud to present his 7th album on KRAAK — Kreis Plön, which documents and envisions 20 years of exploring. It’s an album that is about a fusion of the past and the future, of separation and reconfiguration, of mourning and rejoicing, of noise and peace. Kreis Plön is about geolocation. It’s about probable fiction and looking for bits of different puzzles that fit together. An exercise in linear and perpendicular coherence devoid of any objective logic. 

In the middle of the album an artist is envisioning his place in the Now, questioning how or when he got there, as he links memories to imaginary places, and real places to imaginary histories. Kreis Plön stands as such a masterpiece that bluntly envisions the future of electronic music.

Klinker

Sprite Fountain

Pram Gang

Small preview from the epic new album by The Dead Mauriacs. A schizophrenic journey through exoticism and/or places that never really existed.

More info at www.discrepant.net

The Dead Mauriacs - Beauté des Mirages (LP preview)

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

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer
 
Bryan Eubanks: Open-circuit electronics (sinetones)
 
 
 
What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. 
 
Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits.
 
.. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits." - Time Out NY
 
Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique.
 
Artwork by Jerry Starpoli
Liner notes by Joe McPhee 
In memory of Jerry Starpoli 
 
http://www.penultimatepress.com

Joe McPhee and Bryan Eubanks - My Undocumented Alien Clarinet (excerpt)

AB-79 cassette release on Albert's Basement

www.albertsbasement.net
https://moechee.com/

默契 Moe Chee and Jen Callaway 'Testament Of The Trinity' cassette excerpt

Serge 606

from the Richie Records Summer Singles Series, coming out Summer 2017

Live in Philadelphia:
Thursday July 27
@ Kung Fu Necktie
w/ Writhing Squares & Hothead

DAVID KENNETH NANCE - Amethyst (Fucked)

from the Trendees cassette Barmaid b/w Flat tac on a mooney night

www.albertsbasement.net

The Trendees Barmaid

Taken from the album UUUU. Released as 2LP & Download

UUUU 'Verlagerung, Verlagerung, Verlagerung' (EMEGO 239)

Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura's music remains tragically under-known outside of his home country. Empire of Signs – a new imprint co-helmed by Maxwell August Croy and Spencer Doran – is proud to reissue Yoshimura's debut Music for Nine Postcards for the first time outside Japan in collaboration with Hiroshi's widow Yoko Yoshimura, with more fully licensed reissues of Hiroshi's work to follow in the future.

Working initially as a conceptual artist, the musical side of Yoshimura's artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many subsequent turns within Japan’s bubble economy afterward. His sound works took on many forms - commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design - all existing not as side work but as logical extensions of his philosophy of sound. His work strived for serenity as an ideal, and this approach can be felt strongly on Music for Nine Postcards.

Home recorded on a minimal setup of keyboard and Fender Rhodes, Music for Nine Postcards was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building's architecture. This was not mere background music in the prior Japanese “BGM” sense of the word, but “environmental” music, the literal translation of the Japanese term kankyō ongaku [環境音楽] given to Brian Eno’s “ambient” music when it arrived in late 70's Japan. Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space, a new way of listening: sound not as an absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it. Erik Satie's furniture music, R. Murray Schafer's concept of the soundscape and Eno’s ambience all greatly informed their work,  but the specific form of tranquil stasis presented on releases like Nine Postcards is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of it's construction. This record offers the perfect introduction to Hiroshi's unique and beautiful worldview: it's one that can be listened to - and lived in - endlessly.

Music for Nine Post Cards

Hiroshi Yoshimura (吉村弘) - "Water Copy" from Music for Nine Post Cards (EOS01) OUT 11/17/2017

from "Abraham's Sausage Pot" CS
moonglyph.com/releases/mg92

2017

MutantMint