Nice and Wierd 2015

2014

Lorenzo Senni

http://boomkat.com/vinyl/1093885-lorenzo-senni-superimpositions

‘Superimpositions’ is the hyper-coloured conceptual follow-up to multi-disciplinary Milanese artist, Lorenzo Senni’s landmark LP, ‘Quantum Jelly’ (Editions Mego, 2012). It further consolidates, accelerates and evolves his idea of “Pointillistic Trance” - an ascetic, extreme approach to the aesthetic essence of ‘90s-style trance/hard-trance - with a broader range of song structures, minimalist moiré patterns, and tantric dancefloor arrangements, all executed to visceral impact and challenging, exhilarating effect.

Angling deeper into his stripped set-up - a computer-controlled JP8000 Roland Digital- Analog Modelled S-Source Synthesiser - ‘Superimpositions’ reveals seven glistening examples of Lorenzo’s current praxis, finding the biting point between emotional, real- time human input, and the sleek tension of synthesis. Opener, ‘Happic’ arches up with breathtaking effect, and never quite gives it back during its seemingly infinite ascent, whilst ‘Elegant, and Never Tiring’ is a spine-tingling exercise in aerobic coefficients, and the title track tiers teasing chords in a sisyphean struggle for deferred gratification.

At the LP’s blinding, white hot core, the heart-rush flux of bass arpeggios and spiralling hi-end in ‘Forever Headline’ threaten to careen off the platter, harnessing the rush of a million ‘crasher kids circa ‘98, before closer ‘PointillistiC’ broadsides with a cascade of lip-bitingly beautiful, melancholic chords.

It’s the tenth, and arguably most impressive original release on our cherry-picking label, Boomkat Editions.

'SUPERIMPOSITIONS' Boomkat Editions (BKEDIT #10)

worm

piguła

I could dance this

01 Castles (Prod. Felix Snow)

HISS GOLDEN MESSENGER: BAD DEBT (PoB-11)

N.B.: This record releases on January 14, 2014. 
http://www.paradiseofbachelors.com/pob-11

M.C. Taylor recorded this spiritually devastating, austere antecedent to the widely celebrated Hiss Golden Messenger albums Haw (2013, PoB-06) and Poor Moon (2011, PoB-02) direct to a portable cassette recorder at the kitchen table of his pine-entwined home in rural Piedmont North Carolina in 2010. It was the dead of winter and the pit of the financial crisis, a moment when the dire ramifications of debt—in its economic, political, and personal senses—had assumed a rank immediacy and terror for many working people around the world, not least of all in the American South. Taylor, his one-year old boy Elijah sleeping in the next room, was compelled to chart the sacred valences of debt, doubt, and family in fresh ways, in the process stripping bare and reinventing his songwriting idiom. In his own words:

Bad Debt comes from ten dense acres of oak, cedar, and apple trees in Pittsboro, North Carolina, directly south of the Haw River. The house where it was made was built in the early 1970s by a hippie cohort that settled along Brooks Branch; though this may sound like some kind of brag, I offer this to explain just how cold it was during the fall and winter when this record was conceived. Most hippies—except for the most famous one, of course, and probably a few others—are shit carpenters. 

The record is about my God: that is, whether I have one, and whether there is a place for me in this world. I don’t go to church, and I am not saved. I can party too. I can do a saxophone now and again, bang the drum. Bad Debt was my revelation, and there are many for whom I’ll never make a record better than this one.

Ruminating on the riddle of faith, a firstborn son, and thorny existential questions large and small, the album laid the lyrical and compositional foundations for HGM's critically acclaimed releases to come. Half of these devotional songs appear elsewhere in the HGM discography in radically reinvented arrangements and permutations—Taylor’s writing practice revealed itself following Bad Debt as essentially iterative, the deliberate enunciation and re-articulation of koans—but they exist here in germinal, psalmic purity and economy, as unadorned and plain and perfectly ragged as the cedar floorboards in that Brooks Branch cabin. 

Three years after the destruction of much of the first, CD-only edition of the album in a warehouse fire during the London riots, this deluxe reissue, featuring the original gatefold artwork and a download coupon, restores the stark masterpiece to its intended full song sequence, including three additional songs, one of which, “Far Bright Star,” has never previously been released in any form. (In 2011 Taylor self-released three vinyl editions of 100 each, now collector’s items, on his Heaven and Earth Magic imprint.) This moving, intimate document, until now available only in limited numbers and difficult and dear to acquire in any format, is critical for fans and new listeners alike, providing a retrospective in advance of a new, full-band HGM album currently being recorded for release on Paradise of Bachelors later this year.  

ACKNOWLEDGEMENTS

Taylor writes lucid, often heartbreaking songs about God and frailty and the passage of time. Bad Debt—rendered, as it was, in a drafty kitchen on a portable tape recorder—is vulnerable and immediate. There are times, listening to it, when I am splayed by its intimacies, made fully prostrate by them. Bad Debt feels like an apotheosis, almost. It is unadulterated in its portrayal of a person desperate for peace. - Amanda Petrusich, The Oxford American

North Carolina songwriter M.C. Taylor doesn’t describe faith as a safe place so much as the destination across some unbridgeable gulf. - The Washington Post

A thing of gentle charm & unmistakable cosmic American beauty. - The Independent (UK)

Bad Debt

Hiss Golden Messenger - Bad Debt (2010/2014, PoB-11): 03 "Bad Debt"

Hiss Golden Messenger - Bad Debt (2010/2014, PoB-11): 05 "Straw Man Red Sun River Gold"

HISS GOLDEN MESSENGER: BAD DEBT (PoB-11)

N.B.: This record releases on January 14, 2014. 
http://www.paradiseofbachelors.com/pob-11

M.C. Taylor recorded this spiritually devastating, austere antecedent to the widely celebrated Hiss Golden Messenger albums Haw (2013, PoB-06) and Poor Moon (2011, PoB-02) direct to a portable cassette recorder at the kitchen table of his pine-entwined home in rural Piedmont North Carolina in 2010. It was the dead of winter and the pit of the financial crisis, a moment when the dire ramifications of debt—in its economic, political, and personal senses—had assumed a rank immediacy and terror for many working people around the world, not least of all in the American South. Taylor, his one-year old boy Elijah sleeping in the next room, was compelled to chart the sacred valences of debt, doubt, and family in fresh ways, in the process stripping bare and reinventing his songwriting idiom. In his own words:

Bad Debt comes from ten dense acres of oak, cedar, and apple trees in Pittsboro, North Carolina, directly south of the Haw River. The house where it was made was built in the early 1970s by a hippie cohort that settled along Brooks Branch; though this may sound like some kind of brag, I offer this to explain just how cold it was during the fall and winter when this record was conceived. Most hippies—except for the most famous one, of course, and probably a few others—are shit carpenters. 

The record is about my God: that is, whether I have one, and whether there is a place for me in this world. I don’t go to church, and I am not saved. I can party too. I can do a saxophone now and again, bang the drum. Bad Debt was my revelation, and there are many for whom I’ll never make a record better than this one.

Ruminating on the riddle of faith, a firstborn son, and thorny existential questions large and small, the album laid the lyrical and compositional foundations for HGM's critically acclaimed releases to come. Half of these devotional songs appear elsewhere in the HGM discography in radically reinvented arrangements and permutations—Taylor’s writing practice revealed itself following Bad Debt as essentially iterative, the deliberate enunciation and re-articulation of koans—but they exist here in germinal, psalmic purity and economy, as unadorned and plain and perfectly ragged as the cedar floorboards in that Brooks Branch cabin. 

Three years after the destruction of much of the first, CD-only edition of the album in a warehouse fire during the London riots, this deluxe reissue, featuring the original gatefold artwork and a download coupon, restores the stark masterpiece to its intended full song sequence, including three additional songs, one of which, “Far Bright Star,” has never previously been released in any form. (In 2011 Taylor self-released three vinyl editions of 100 each, now collector’s items, on his Heaven and Earth Magic imprint.) This moving, intimate document, until now available only in limited numbers and difficult and dear to acquire in any format, is critical for fans and new listeners alike, providing a retrospective in advance of a new, full-band HGM album currently being recorded for release on Paradise of Bachelors later this year.  

ACKNOWLEDGEMENTS

Taylor writes lucid, often heartbreaking songs about God and frailty and the passage of time. Bad Debt—rendered, as it was, in a drafty kitchen on a portable tape recorder—is vulnerable and immediate. There are times, listening to it, when I am splayed by its intimacies, made fully prostrate by them. Bad Debt feels like an apotheosis, almost. It is unadulterated in its portrayal of a person desperate for peace. - Amanda Petrusich, The Oxford American

North Carolina songwriter M.C. Taylor doesn’t describe faith as a safe place so much as the destination across some unbridgeable gulf. - The Washington Post

A thing of gentle charm & unmistakable cosmic American beauty. - The Independent (UK)

Hiss Golden Messenger - Bad Debt (2010/2014, PoB-11): "Drum"

Play loud through headphones. Incidental lighting via fireplace preferable. Download and administer on a loop.

Roxy Formless: Theme From Roxy (Minimal Hostility Hypno-Mix)

Live set recorded at Panorama Bar in Berlin on the 22nd of Feb 2014.

Avatism - Live at Panorama Bar 22.02.2014

Helado Negro, "I Krill You"

A1. Happic - taken from "Superimpositions" (BKEDIT010)

A1. Happic

- taken from "Superimpositions" (BKEDIT010)

A2. elegant, and never tiring

A3. Zeroth-Order Approximation

A4. Superimpositions

B1. Forever Headline

B3. PointillisticT

Once again, Carhartt WIP Radio welcomes Innervisions to the airwaves with a mix from Kristian Beyer, one half of the irrepressible, in vogue duo, Âme. Since 2003, German duo Kristian Beyer and Frank Wiedemann have produced music under the alias Âme, combining floor-filling tunes with musical elements that go beyond the usual formula of house and techno. Their single "Rej" became a global club hit in 2006 and the duo has been travelling the world and playing at every major club and festival ever since. If that wasn't enough, along with their buddy Dixon, they also run the Innervisions label, currently one of the most sought-after names in contemporary house. Lately Wiedemann has taken to playing solo live as Âme, while Beyer deejays under the same alias. For Carhartt WIP Radio, Kristian has mixed a show featuring some of his favourite tracks from the Innervisions archive.

Tracklist:
Howling - Litmus
Tokyo Black Star - Violent Rush
Madioko 'N' Rafika - Ellelli (Kalabrese Remix)
Atjazz - For Real (Version Remix)
Château Flight - Baccula
Mark August - Warm
Larry Heard - Deja Vu (Musaria Mix)
Kingpin Cartel - Ghetto
Âme - Rrose Sélavy

Carhartt WIP Radio June 2014: Âme - Innervisions Radio Show

recorded live at Maida Vale studios for Zane Lowe BBC Radio 1

original version on WONDER WHERE WE LAND



NEW DORP NEW YORK with EZRA KOENIG - LIVE AT BBC MAIDA VALE

NIGHT SAIL (06:20)

Violin  : Abdo Dagher 
Koto : Toshifumi Eto
Bass :  Ishiguro Shoji
GTR& Qraqab : Toshihito Tsushima
Percussion : Salat &Nubian Crew 
Timba : Eudys Morales
Percussions : Tinnen

MIX : JUZU a.k.a. MOOCHY


J.A.K.A.M. / NIGHT SAIL

You can buy this tune:
https://crosspointproception.bandcamp.com/

SIDE Y

45 RPM


Homeland (06:39)


Sax : Takehide "KIDS" Hashimoto
Piano&Timba  : Eudys Morales
Percussions : Kepel Kimura,Date Gen,Tinnen&Kyoko Oikawa

MIX : JUZU a.k.a. MOOCHY

J.A.K.A.M. - HOMELAND

I'm Aloud EP out now on @MadDecent : https://maddecent.lnk.to/ImAloud

It's safe to say we have enough music for girls to twerk to...  This one's for the basshead chics who'd rather headbang and go hard. 

If you vibe click the [↻ Repost] button

I'm Aloud

Dirty Work

Download

Taken from the 'Persona' EP, out now on Warp Records.

Bleep - http://smarturl.it/persona-bleep
Stream - http://smarturl.it/persona-stream

Rave Voyeur

Éclaircie

Side A of Swell to Great, cassette on Barry Dean's Lotus Birth label from a couple of years ago.

Millsands sol or Complex Travel Arrangements are Dancing Lessons from God

Purchase/Download Here:
doronsadja.bandcamp.com/album/curse-silence-like-light