Far far away in the infamous Saint-Etienne Kingdom live and breath Anouar Redjem Cheibane, Guillaume Lamorte & Jacques Satre. The three members of Le Marais surfaced from the gloomy waters of 2020 fall to gather balearic, folk, new age and ambient trance inspirations over an amazing eponymous LP on French Besoins Premiers.

Following the label taste in flowery, poetic music (with Organizatsiya's 'Strane Leoni', Lenny Frings' 'Ontological Outlines' or Modeux des Cieux's 'Constant Run'...), the trio definitely defined its own touch with this 11-track release, made of dreamy synths, autotuned lyrism & spoken words, tremendous electric guitar leads and nebulous sounds, set against an ogre-and-fairy-tales medieval background.

300-vinyl edition to be released during the summer:
https://besoinspremiers.bandcamp.com/album/le-marais

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FEEL THE SPIRIT
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Facebook: facebook.com/bambooshows/​
Instagram: instagram.com/erevan_bamboo/​
YouTube: https://bit.ly/YouTubeBambooShows
Spotify: bit.ly/SpotifyBambooShows
Web: www.bambooshows.com​
Discogs: bit.ly/DiscogsBambooShows
Mixcloud: mixcloud.com/bambooshows/​
Contact: bambooastruth@bambooshows.com

℘ཞɛɱıɛཞɛ ≈ Le Marais - Drain The Swamp [Besoins Premiers]

Artist: Trip Shrubb
Album: Trewwer, Leud und Danz
Label#: faitiche 25
Format: LP/DL
Release: Oct 22nd 2021

Faitiche is excited to present, for the first time on vinyl, a selection from the 84-track (!!) remix project originally released in 2013 as a three-tape set by Trip Shrubb aka kptmichigan aka Michael Beckett. Known to many from bands like Tuesday Weld or The Schneider TM Experience, Beckett remixed his way through Harry Smith’s famous Anthology of American Folk Music – a compilation of American folk, blues and country recordings released in 1952, soon to become key point of reference for the emerging folk revival movement. Having translated the title into the local dialect of the part of Germany where he lives, Beckett began reinterpreting all of its 84 tracks using sampler, effect pedals and loops – sometimes making several tracks in a single day. A colossal undertaking whose results are beyond accomplished and that is summed up in the selection of thirteen tracks on Trewwer, Leud un Danz.
  

Murray Royston-Ward writes about Trewwer, Leud un Danz:

“Total sacrilege... 
A collection of remixes of tracks from Harry Smith’s Anthology of American Folk Music which was originally released in its entirety. The album is titled Trewwer, Leud un Danz (sorrow, song and dance) which is drawn from an endangered ‘Low German’ dialect (lippisch Platt) and is poetically approximating Smith’s volumes Ballads, Social Music and Songs.   The hardware employed encompasses analogue, virtual analogue and digital. A primordial soup of electrical fields, striated granulation, micro-circuitry, molecular oscillations and mathematical manipulation; communicating directly with the guitars, zithers, mountain dulcimers, fiddles, jaw harps, banjos, harmonicas and human voices of 1930’s America: itself a reterritorialization of African and European folk traditions that reach back farther and farther into our collective pasts. (…)” 

faitiche 25, 2021
Music by Michael Beckett
Mastering by Rashad Becker
Design by Tim Tetzner
Published by La Chunga
Label image by Giant Fox

Trip Shrubb: Wach Up, Jakob

Sanely deforming my remembrance
From which I leap to life again
 I walk into waves, they don't cover me
But I know the sea the same way
 Not knowing the air that smothers
As if the wind only blows for the waves
And the vital fluid smells only like blood.

For the forgetful, insensible onlooker, silence will indicate peace, acceptance, even dullness. The inner truth will not be revealed to this observer. This learned silence has grown watered by absence of compassion - an armor of thorns to protect from a feelingless environment. There is no doubt: one day the truth, enriched by sorrow and ornamented in grace, will burst out of their chest. It is only a question of whether the screams will be heard.

The debut LP of Reece Thomas, formerly known as Alocasia Garden, is a highly personal and bravely revealing story titled 'Dysphoria'. The seven songs candidly express inner forces tearing one apart; a harsh struggle of dissonance and harmony weaves into a beautiful, yet anguished, whole.

Dysphoria

Reece Thomas - Without the fear of proof

info: https://radio.syg.ma/episodes/guests-166-ilya-artemov

GUESTS

GUESTS 166 – Ilya Artemov

Detox № 18 - Пурпурный Дядя

Ambient Dreamscapes for you to enjoy. Relax, unwind, meditate and chillout

DARK AMBIENT - THE BONE YARD

Emotional Release Sounds

shifty 60 bpm key test 4 w hat 1

ZI.1 - 'Imitazione' (reading by Mara Cimatoribus)*
ZI.2 - Titled
ZI.3 - 'Menschenbeifall' (reading by Anne Tetzlaff)
ZI.4 - Ulyssean Time
ZI.5 - 'Imitaciones' (reading by Rupert Clervaux)**

Available as a 12" with a foldout poster by Coline Cornélis,
and as a download.

Rupert Clervaux: drums, percussion, vibraphone, piano, synthesizers and samplers, 
with Stephen Warrington: piano on ‘Imitazione’, and Eben Bull: saxophone on ‘Titled’.

Artwork by Coline Cornélis.

*translation by Jonathan Galassi
**translation by Jason Weiss

Zibaldone I of CVX

snf09 : mark templeton "ocean front property" part 1

Artist: GES
Album: Anthology of American Pop Music
Label#: faitiche22
Format: LP/DL
Release: Oct 23rd 2020

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
 
GES (Gesellschaft zur Emanzipation des Samples)
Active members:	Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany

GES Glossary (excerpts):

- Acoustic Surveillance Series
A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Oreccio di Dionysio in 2021. GES is open to further suggestions on this subject.

- Circulations
What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

- Emancipation of Sampling
Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition. 

- Field Recording
A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

- Gambling
An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

- Kraftwerk
The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

- Sampling
Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

snf09 : mark templeton "ocean front property" part 1

Senufo Editions