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Armand Schaubroeck Steals - King Of The Streets

Release date : June 13th 2016

LISTEN : https://wavinghandsrecords.bandcamp.com/album/the-old-guard

'The Old Guard' was recorded in 1987 in San Jose by Nicole Campau, at the early age of 11. She was helped by her father Don Campau, a musician and radio-host active since the 1960's, whom lend her his TEAC A3440 4 track open reel recorder. Nicole wrote the lyrics, sung, played acoustic guitar and Moog synth, while her father played other keyboards, percussions and turntables. He later released the tape on his own label, Lonely Whistle. 

The result is a unique blend of minimal synth mixed with cheerful poetry and rap tunes, crossed by a lo-fi folk song and Nicole's personal notes to herself with random asides, as only kids know how to do it. 

Limited edition of 50 red coral cassettes with neon pink j-cards, recorded at home in Rennes (FR).

Tracklist:  
 	
1- What You See
2- Listen Well	
3- My Feelings Inside
4- Baby Don (For Peter Blind)	
5- Tyra And Me
6- New Fashion 
7- Thanks

WH011 Nicole Campau - New Fashion

Amanaz - Khala My Friend

Africa Reverb Mix

I Am Very Far (Reverb Mix)

LP/CD/Tape/Digital out now September on Awesome Tapes From Africa.

The famous singer's first record, made following her discovery in a talent competition. Acoustic guitar and vocals. The first in a trilogy of recordings, the third volume of which was the first release for ATFA back in 2011.

La Grande Cantatrice Malienne Vol 1

Nahawa Doumbia — Tou Dibile

About Phantom Rhythm

Guitar-and-bass duo Gong Gong Gong charges out from Beijing’s underground scene with a distinct vision and uncompromising sense of purpose. The group unites musical cultures, drawing on inspirations as wide-ranging as Bo Diddley, Cantonese opera, West African desert blues, drone, and electronic music. 

Gong Gong Gong eschews traditional rock percussion, but on their debut LP, Phantom Rhythm 幽靈節奏, the locomotive chug of Tom Ng’s guitar combines with Joshua Frank’s thumping, harmonics-laden bass lines to conjure an aura of ghostly snare hits and timpani overtones. Over Frank’s enigmatic melodies, Ng sings in Cantonese, piecing together abstract tales of absurdity, doubt, desire, and lust. Synchronized to the point of near-telepathy, the band use their minimalistic tools and idiosyncratic playing style to challenge the notions of rock n’ roll and strip the form down to its bare essentials: rhythm, melody, and grit.

About Gong Gong Gong
 
Formed in 2015, the band’s earliest shows were in Beijing underpass tunnels and DIY spaces. Ng and Frank are both outsiders who call the city their home: Ng, who was born in Hong Kong, defiantly sings in his native tongue, while Frank, originally from Montreal, has lived in Beijing on and off since childhood. (He is the English translator of Ng’s lyrics, adding another layer to the duo’s close collaboration). The duo is set to follow up the release of the Siren 7" with the release of the Phantom Rhythm album in the Fall of 2019.

Produced & Mixed by Jonny Schenke. Recorded at Seaside Lounge and Mixed at Studio Windows. Mastered by Carl Saff.

BUY LP/CD

Gong Gong Gong 工工工 - Notes Underground 地下日記 (From the 'Phantom Rhythm' LP out 10/4)

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)

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997). 

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar. 

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch. 

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys. 

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.

Steve Hiett - Are These My Memories? (ES011/BEWITH062LP)

From Campfire's 5th album "Fare Trax" out in August on Fire Talk. 

Apple Music: https://ffm.to/faretrax
Spotify: https://ffm.to/faretrax

http://www.firetalkrecs.com

Campfires - Jackals Maw

Mark Sultan, best known as BBQ of the legendary King Khan and BBQ Show, and whose repertoire is far too lengthy for this already superfluous run-on sentence, finally lands himself on Slovenly Recordings for a two-track single of superb 60's garage swankness! Monsieur Sultan makes autobiographical on the suave and sparse "Filthy Rat," switching gears from slow to GO! on the swinging flip "Heart Attack," harmonizing with his own bad self over a classic teenpunk shuffle beat with the unmistakable goldenthroat that all the crazed kids the world over swoon for.

"Filthy Rat" EP

Filthy Rat

MARK SULTAN -Filthy Rat- EP - 02 Heart Attack

Claus Comedi ‎– La Historia De Tu Alma
Genre:
Electronic
Style:
Synth-pop, Minimal
Year:
2019
Notes:
Print run of the vinyl : 
150 clear 
50 dark blue clear

Appropriate Responses

MutantMint