16/05/2014 - Holy Mountain Records - NEWS 02

Black Hat
Thought of Two
LP/CD
Hausu Mountain, March 4th 2014
www.hausumountain.com/
Stream in full at http://hausumountain.bandcamp.com/album/thought-of-two

Black Hat - Imaginary Friends

WALLS/ORAM - Sound Houses LP (Ecstatic/Kompakt)
Release Date: 5/5/14

WALLS collaborate with the private sound archive of legendary electronics pioneer / composer and BBC Radiophonic Workshop creator Daphne Oram


WALLS / ORAM - Extremely Long Corridor

Artist: Fennesz
Title: Bécs
Label: Editions Mego
Format: CD/LP
Release date: 4/29/2014 

The last time Fennesz released an album on Austrian label Mego it was 2001 and the name of that release was Endless Summer. Now, in 2014, Editions Mego is extremely proud to release the conceptual follow-up to that landmark of abstract pop. Bécs (pronounced "baeetch") is Hungarian for "Vienna" and is the first full-length Fennesz solo release since 2008's Black Sea (TO 076CD/LP). Eschewing the more drone-oriented works of Black Sea, Bécs returns to the more florid pop mechanisms as deployed on Endless Summer. "Static Kings" features the extra leverage of Werner Dafeldecker and Martin Brandlmayer, who deploy a range of atmospheric abstract effects to shape a bewitching sound-world. The 10-minute centerpiece "Liminality" (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. "Pallas Athene" creates a sanctuary of hovering beauty which leads into the title-track. Emotional and assured, the track "Bécs" is an astonishing contribution to contemporary pop. "Sav," co-written by Cédric Stevens, (aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where on the closing "Paroles," a gentle melody unravels amongst swirls of electronics and fried disruption. Bécs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature. A singular work by a singular artist. All tracks by Christian Fennesz, except *by Cédric Stevens & Christian Fennesz. Modular Synthesizer on "Sav" by Cédric Stevens. Bass on "Static Kings" by Werner Dafeldecker. Drums on "Static Kings" by Martin Brandlmayr. Drums on "Liminality" by Tony Buck. Recorded & mixed at Amann Studios, Vienna, 2013/2014. Tony Buck's drums recorded by Martin Siewert at Garnison7, Vienna, July 2013. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, February 2014. Cover design by Tina Frank. 

Track Listing:

01. 	Static Kings
02. 	The Liar
03. 	Liminality
04. 	Pallas Athene
05. 	Bécs
06. 	Sav
07. 	Paroles

- Editions Mego presents an album by electronic music luminary Christian Fennesz -- the first full-length Fennesz solo release since 2008's Black Sea.
- Features contributions from Werner Dafeldecker, Martin Brandlmayer, and Tony Buck.
- Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
- "Fennesz takes musical warmth, glowing melodies and lush arrangement and subjects them to sharp digital decay, providing another deep layer of meaning." --Pitchfork (9.4)

Official web site:
www.fennesz.com  


Fennesz - Static Kings (taken from Bécs, out April 29th)

Limited-edition, 180-gram, clear vinyl, gadefold cover

“My electroacoustic music knowledge encouraged me to attempt a mix of voices, percussions, instruments and synthesizers to deal with a theme that had fascinated me for some time: the eschatological-Dantesque environment in its transcendent metaphysical imagination and, at times, even ironic interpretation. 
The search for sound materials of the most varied origin allowed me to achieve particularly effective timbric results, the fruit of a patient elaboration of the materials themselves with operations suggested by the mixer and by the various systems for treating sound. 
What I would define essentially as ‘electroacoustic music’, finds its unavoidable realization exclusively in recording, as by nature one cannot imagine other and different forms of execution: therefore I believe that the most effective and intimate listening the disc allows is the logical point of arrival of my artisan work, which I hope can achieve its own artistic meaning.” 
Fabio Fabor.

There are certain records that burst into the cultural mechanisms of "modernity" of each period, which mould fashions and manners, styles of life and shape the thought of what's contemporary. 
These records, and the music they contain, transform themselves into signals, points of arrival, undisputed targets for the youth cultures they meet. They are points of reference for the reading of sound periods. Others instead are invisible at their time, lost and mysterious for decades and decades. They transmit sound signals that cannot be heard by common people, squeaks for the most attentive ears, maybe, but no signal for the mass of the Society of Spectacle. Then the volume rises again, suddenly. Decades later, those forgotten records resurface from the stocks of the scrap merchants and start shouting out the power of their sound and culture. Despite being recorded decades earlier, they become contemporary and very modern, the sounds that the grooves produce seem to predict tomorrow's sound landscape. This is what happened with Pape Satan by Fabio Fabor, which Plastica Marella (editor in Modo Moderno) released in 300 limited edition copies, in see-through 180 g. vinyl. 
Pape Satan was mysterious from the beginning of its creation (to this day it's impossible to set a precise release date, which is believed to date back between 1978 and 1981), inscrutable and occult, but Fabio Fabor has always been the unaware protagonist. After all, Fabio Fabor created this record for pure personal pleasure, for research and individual curiosity. Initially produced to fuel the circuit of library music, it almost immediately transformed into something different, halfway between electronic music, electroacoustic and esoteric alchemy applied to music. The author himself is a riddle; Fabio Fabor was one of the pseudonyms adopted by Fabio Borgazzi, who was born in Milan in 1920 and died in Rome on the 3rd of August 2011. Great composer and musician, author of over 500 songs, 8 times his tracks were protagonists of the Festival of Sanremo, the temple of Italian pop music. He also worked on numerous musical and lyrical operas, pieces for theatre, radio and television. In the end the meeting with electronic music and its declensions: he created tens and tens of recordings to enrich his personal archive, a treasure of sounds we hope will soon be unlocked. 
An underground cult that of “Pape Satan”, fuelled by the reaffirmation of the occult electronic scene, which has in Demdike Stare its maximum expression. And Miles Witthaker was the person who rediscovered the work of Fabio Fabor; he found a very rare copy of “Pape Satan” in Rome, in the most famous Italian flea market, and since then Fabor became a part of his personal sound Olympus. 
When one listens to Fabio Fabor's work today, it's like a very fast fall into the soul's oblivion, occult psychedelia for enraged hearts. A masterpiece. Absolute

Fabio Fabor: Stige (extract) - from Pape Satan

Les Spirales Messmer

DHE001 Disco Halal Exclusive

100 Hand Stamped Vinyl Press, One Per Costumer 
Release Date 1.4.16
Moscoman Remix of Calexico - Roll Tango 

Disco Halal / City slang 

Pre-Order Now

Calexico - Roll Tango (Moscoman Remix)Snippet

Capsule's Pride • http://smarturl.it/LMW0006
From Capsule's Pride EP available March 25

[LMW006] Bwana - Capsule's Pride (Bikes)

Thrilling music from the cassette deck of Brian Shimkovitz.

Read more: https://www.residentadvisor.net/podcast-episode.aspx?id=517

@awesometapesfromafrica

RA.517 Awesome Tapes From Africa

first excerpt from Vanessa Rossetto | The way you make me feel cd on Unfathomless.

this release is limited to 200 hand numbered copies and comes with an extra art card.

U35 | Vanessa Rossetto | The way you make me feel | 1. I Cut My Own_excerpt

Mix traditional albanian music

Opa Opa - Buongiorno Italia

SPCTR006 - Petit Singe - Akash Ganga - out April 28, 2017

 Two years have passed since “Tregua”, Petit Singe’s debut on Haunter Records. A key moment for both the label and the artist, it represented Hazina Francia’s move out of the shadows, introducing her unconventional taste for hybridization. Unnumerable gigs and experiences later, Francia’s vision and artistic capability have grown richer and broader, leading her to new path. The 5 tracks that compose “Akash Ganga” are here to testify an unresting spiritual investigation. They construct a sonic scenario that brings her mix of post-club sensibilities, and reminiscences of her native India directly into space, injecting her tabla-led polyrhythms with cinematic sound design. Francia’s talent for gracious meditative moments is here constantly mutating into unprecedented heavier tones, letting the moments of melodic reverie and those of sheer percussive intensity strengthen each other. All this elements fuel the impressionistic narrative Francia has decided to arrange: mixing elements of her personal biography (like naming one of the tracks after the date her foster parents brought her to Italy from Bengala) with fragments from the history of digital experiences and elements of her eastern heritage. This allows her to use music as a mean to explore themes of personal and cultural identity, as well as technological evolution and gender.

Out april 29th Comes in a 12"  wrapped in a poster by designer Giorgio Di Salvo.


Pre- order: https://haunterrecords.bandcamp.com/album/petit-singe-akash-ganga

Petit Singe - Hue And Cry

http://shelter-press.com/main/category/038/

Slipping Control is Ben Vida’s new LP.

Slipping Control derives from the text piece « Tztztztzt Î Í Í…. » wrote last year by Ben Vida (and published as a book by Shelter Press).

Composed to act as a score, a sound piece and as raw data for electronic control source, Tztztztzt Î Í Í… became the intrinsic element that tied all different pieces of art made by Ben Vida.
 » I was interested in the rhythm of speaking, interested in using the voice to create rhythmic patterns that would inevitably break out of time and become asymmetrical and awkward. I wanted to create one set of control sources (the text) and run them through a bunch of different systems (the video, the book, the record etc) and see how the original source material morphed and changed as it manifested in these different modalities. The process of developing each unique work involved setting of control paths for the text to be processed though. In terms of this path the first step after writing the text was to find the primary filter of interpretation and translation that would start this process of slipping control – and this is where Tyondai and Sara come in… »

A Control Path may look something like this:

Text > Performer/Vocalist > Voiced Recording > Electronic Analysis > Reconfigured

Text > Audio Synthesis > LP Record.

Or maybe like this:
Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation.

Or this:
Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation > Color Field Panel Display.

Or more simply:
Text > Poster

Mastered and cut by Helmut Erler at D+M,
Pressed at Pallas in an edition of 500 copies worldwide.

Ben Vida "Slipping Control part 16" (SP038)

Plastica Marella issues limited-edition vinyl records and cassettes. It is not an independent record label however. The epitome of the unconventional, Plastica Marella publishes books on pre-printed paper and tales for narrators without words. Yet it is not a publisher. Autonomy is a non-existent flag for Plastica Marella and it rejects independence as fake and without meaning.  Plastica Marella is free from the constraints of fashion, culture, sounds and contemporary words and of everything that contradicts the above concept. Plastica Marella issues and distributes the missing links that help us to understand modernity, providing a constant flow between the distant past and the near future. Plastica Marella seeks to liven up the wait for the inevitable end, hurling itself into the chaos of ideas. Plastica Marella issues and distributes sounds that we listen to in a different kind of way.

Fabio Fabor: Stige (extract) - from Pape Satan

Plastica Marella

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