sama2

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Another excerpt from the album, available from <a href="http://www.soundohm.com/product/Raul-Lovisoni-Francesco-Messina-/Prati-Bagnati-del-Monte-Analogo/pid/20621/" rel="nofollow" target="_blank">soundohm.com</a>. Originally published in 1979 by the legendary Gianni Sassi's Cramps Records label, as part of a series curated by Franco Battiato, the long-awaited &quot;Prati Bagnati del Monte Analogo&quot; has finally made available by Die Schachtel in a repackaged deluxe edition (both LP and CD), fully remastered (by Giuseppe Ielasi) from the original Cramps tapes, and complete with 3 extra tracks (in the CD edition) dug from Francesco Messina's archives. Produced by Franco Battiato, the breathtaking oeuvre of Francesco Messina and Raul Lovisoni is openly inspired to the unfinished metaphysical novel 'Le Mont Analogue', by the French writer Ren? Daumal, who had been for many years a student of the teachings of the enigmatic Armenian Georges Ivanovich Gurdjieff. The reference to Gurdjieff is important in order to frame this work in its own context, because at that time the great Greek-Armenian mystic was beginning to exert large influence into the diverse and stimulating artistic environment that for many years developed around Battiato, which included, among the others, Juri Camisasca, Francesco Messina and Giusto Pio. Battiato's entourage was characterized by a deep desire of spirituality that would not adhere to a&nbsp; particular faith, but rather involved a full opening of the mind and body. This spiritual quest, that one can hear shining through the music, was something intimate and personal and it never became the expression of religious extremists looking forward to live in another world. Similarly, Prati Bagnati del Monte Analogo is a stage of that journey that the artists developed independently, yet with a constant tension of the Spirit resulting from years of readings and reflections shared with others. The music of this album is an exact compendium on such intimate journey: drones and overtones, repetitive patterns, deep meditative feel, spaced atmospheresm writing this on a Sunday afternoon during breaks taken from restoring two zithers from the late nineteenth century. I love the instruments not only for their beautiful craftsmanship and sound but for what they've seen, the stories in which they've played a part, and the journey that brought them to me. Francesco Messina and Raul Lovisonis Prati Bagnati del Monte Analogo is playing on a loop as so many times in the past , colouring the space I inhabit with its glowing overtones, spreading its majestic quietness.Taking as a staring point an unfinished utopian novel, written by French pataphysician Ren&egrave; Daumal, in which is described the ascension of a mountain connecting Earth and Heaven, the three compositions take us on a journey through the rich green pastures of Mount Analogue, occasionally pausing beneath veils of light, only to stride determinedly onwards, to the realms of an ancient wind deity. At some point during this incursion you may find yourself In a Landscape set out by John Cage, witnessing Vainqueur, Substance and Resilent as children chanting their vocoded chants, or else enter a false portal planting you in Anthony Moore's Cloud and Ballroom. Whilst the subject matter is esoteric and the music makes no attempt to conceal this fact, it's time we released these haunting pieces from the demesne of obscurity. Messina and Lovisoni have created a work of radiant beauty, oneiric states waiting to be explored, to lose ourselves in.&quot;&nbsp; (from Stephan Mathieu liner notes)
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LOVISONI / MESSINA Hula Om

FRAGMENT#9 features Ursula K. Le Guin and Todd Barton, The Orb, Selva del Mar, Groupshow, Elchiem Errifra, Tod Dockstader 

FRAGMENTS is conceived by Michele Ferrari in collaboration with Villa Lontana as a thirty minutes(circa) exploration into modern and traditional sounds with an emphasis on field recordings, electromagnetism, radio and shortwave transmissions. Through a monthly stream, channeled by Villa Lontana Records, the series shares a selection of vinyl, digital and recorded material from our archive exposing sound-based practices and music rituals along with tracks of historical and contemporary musicians. FRAGMENTS is an audio project inspired by all human and nature expressions and oriented towards a new adaptation of the present times.

FRAGMENT #9

The long and mesmerizing single piece of analogue electronic music that develops over the two sides of the latest Die Schachtel "silver series" LP is a soundscape composed by Teresa Rampazzi for the artist Diana Baylon's 1972 exhibition at the modern art gallery "Il Fiore" in Florence (Italy). Diana Baylon (1920-2013) was a cross-disciplinary artist active in abstract and programmatic art. In the summer of 1969 she appeared – along with with Alberto Burri, Pablo Picasso, Jean Dubuffet and Lucio Fontana – at the Festival dei Due Mondi di Spoleto exhibition «Maitres et jeunes d'aujourd'hui».

Italy's equivalent to Delia Derbyshire, Teresa Rampazzi (1914-2001) has enjoyed a resurgence of recognition in the past decade and has taken her well-deserved place as one of the pioneers of electronic and computer music. A former avant-garde pianist (having taken part in performances with John Cage since the late 50s), Teresa was exposed to electronic music "exactly as its birth” – as she once said during a concert of recorded tape music in Darmstad in 1952. She decided to produce electronic music at the age of 50 and she founded the N.P.S. Group (Nuove Proposte Sonore), which became one of the main Studios active in Italy alongside Pietro Grossi's in Firenze and Enore Zaffiri's in Turin. Unlike Grossi and Zaffiri, whose work took a structured and systematic approach, Rampazzi's music explored sound densities, drones and textures, often integrating environmental sounds and undulated electronic patterns to create organically structured soundscapes.

For the 1972 exhibition, Teresa Rampazzi realized this long 'soundtrack' (in her words) to be broadcasted in loop. Sounds were made with the analogue equipment she used at the time, revealing her stylistic tendency to create a pulsing, drone-like  sequence of harmonizing electronic tones. «The inner space of the exhibition» – she wrote – «is made of sound, for the whole duration of the exhibition. The work is composed by a series of sound events, with both informal and aleatory features, in a continuous flux, and there is no planned predetermination in any of the various sections. This choice has been made for the sound space to adjust to the sculptor's plastic and loose images» .
Immagini per Diana Baylon was in fact the third time Teresa Rampazzi realized music for an exhibition. The first was also the very first experimental composition that Rampazzi and Ennio Chiggio composed in 1965, a sound collage for the opening of an exhibition of the Gruppo Enne at the International Biennale d'Arte in Venice. The second soundscape piece, Environ (1970), was realized for the presentation of a 360° round modular couch in foamed resin designed by Chiggio, presented at a furniture shop in Padova in 1970. The piece is featured on the Die Schachtel Musica Endoscopica LP by Teresa Rampazzi released in 2009. Immagini per Diana Baylon is the eigth LP release in the Die Schachtel series dedicated to the pioneers of early Italian electronic music and will be soon followed by Mario Bertoncini's Arpe Eolie LP and Arke Sinth, a radical electronic music enesemble active in Padua in the late 60s.

Teresa Rampazzi "Immagini per Diana Baylon" excerpt

The year 2007 saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation (1967-1969) of one of the most legendary improv group of all times, the Gruppo di Improvvisazione Nuova Consonanza. Rescued by the private archives of Mr. Walter Branchi, one of the original founding members – alongside with Franco Evangelisti, Ennio Morricone, Ivan Vandor, Roland Kayn, Egisto Macchi, Mario Bertoncini and John Heineman – the tapes were then restored in their entirety, but only a part of them were published in an epic 500 copies -CD-only boxset titled "Azioni 1967-1969", which also featured a DVD with the original film "Nuova Consonanza" shot by Theo Gallher during the rehearsal and the concert that the group held on March 19th and 20th, 1967, at the Galleria d'arte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds (thanks mainly to the wizardry of Roland Kayn and Walter Branchi), their music was – and remains – one of the most dynamic, original and uncompromising expression of a period defined by intense experimentation and musical bravery, that anticipated a lot of the experiments to come in later years. Or, to put it simple, "They were utterly unique", as per the words that John Zorn – a long time admirer of the Gruppo – expressely wrote for this edition.

To mark the 10-years anniversary of its original release, and to finally make it available for the vinyl aficionados throughout the world, Die Schachtel is proud to present AZIONI/REAZIONI 1967-1969, the complete cycle of improvisations (which in fact means thirteen additional inedit pieces, spanning over 2 and a half LPs and two CDs ), taken from the original tapes, lovingly remastered by Mr. Giuseppe Ielasi and masterly cut to five black vinyls, with a new design and an even more complete information apparatus, that includes a 64 page LP-size book in English and Italian, complete with essays, memories from the members of the Group, a new article by Valentina Bertolani exploring in detail the techniques of the group (based on the enclosed DVD), a chronology and a collection of original reviews by Maurizio Farina, and – to add an additional cherry on the almost rather juicy cake - a set of stunning (and inedit) black and white photos of the group playing in the glorious Venice "Teatro della Fenice" in 1968, taken from the archives of the Venice Biennale.

Gruppo di Improvvisazione Nuova Consonanza "Kate"

Recorded in 1976 by Andreas Rodousakis on double-bass and the composer himself on the mixing desk of Radio Sweden Studio in Stockholm, En Pyri presents a previously unreleased version of Stephanos Vassiliadis's composition for tape and double-bass written in the memory of Jani Christou. En Pyri was composed three years after a multi-fatal car crash that caused the untimely deaths of Anastasia Vassiliadi (first wife of Stephanos Vassiliadis), Jani Christou (acclaimed composer, close friend and collaborator of Stephanos Vassiliadis) and of Christous’s wife Theresia Christou Choremi. The title En Pyri, translating as In Fire, comes from the First Epistle of the Corinthians “..for the day will disclose it, because it is revealed in fire..”, referring to that what remains after death, or in the composer’s words: “man’s song-creation is the only thing that can withstand and overcome destruction”.
The fire is clearly pictured during a particularly long climax starting midway to the end of the piece. The dramatic aspect of this spectrally dense section is even stronger during live shows, with the performer centre-stage fiercely playing double-bass, but failing to be heard over the full-range audio of the 8-track tape. This staged element of En Pyri is inevitably lost with the reproduction of this recording, but the audio alone carries a heavy load. Sounds as if written out of total need and almost physical necessity to deal with death and loss. At the end of the composition, while the performer is still onstage, a quiet tone is “revealed” and held for a few minutes signifying that what remains; that what is “revealed in fire”.
In most performances of En Pyri, Vassiliadis was on the mixing desk. According to statements of his close friends and collaborators, he would gradually increase the level of the 8-track tape to the point he could physically feel the sound on his body. Needless to say, playback of this track in maximum volume is highly recommended.

EN PYRI / BACCHAE

EN PYRI

Stephanos Vassiliadis - En Pyri

Bacchae was written for a production of Euripide’s tragedy The Bacchae directed [and choreographed] by the distinguished choreographer Zouzou Nikoloudi. This particular play was part of the University of California Intercampus Cultural Exchange Program and was never performed in Greece. From the 25th of September to the 3rd of October 1974, it was staged seven times in different campuses of the University of California (Santa
Barbara, Irvine, San Diego, Riverside, Davis, Santa Cruz, Berkeley) . These seven shows were to become the only occasions this composition was presented to the public.
Bacchae seems to be Vassiliadi’s first attempt in bringing together his background in electroacoustic music with the music he grew up to. He beautifully achieves this by juxtaposing modular synthesizer tones with samples of greek traditional music from his collection of archival recordings. These two elements ebb and flow throughout the composition, at times becoming indistinguishable from each other. The manner in which Vassiliadis mixes acoustic and synth drones together resembles electronic music of following decades. Developed gradually over a duration of 23 minutes of uninterrupted and texturally thick audio, Bacchae is a kind of proto-ambient, folk-drone electroacoustic piece, luckily rediscovered in the archipelago of recorded music.

BACCHAE

Stephanos Vassiliadis - Bacchae

Holotype Editions was founded as a means of bringing out music by some of the most unique and peculiar artists of the last decades. What could be more fitting for the imprint’s seventh release, than the duo of cult artist Ghédalia Tazartès and multi-instrumentalist, composer and singer Maya Dunietz.
Recorded live at Cafe Oto, in December 2013, Schulevy Maker documents the duo’s first live appearance. An amalgam of bizarre samples, concrete sounds, live piano and bells, juxtaposed with the otherworldly voices of Dunietz and Tazartès. At times light and humorous, at others dark and ritualistic, Schulevy Maker can hardly be labeled or tagged. The album title refers to Shoemaker-Levy 9, a disrupted comet that collided with Jupiter in July 1994. Tazartès and Dunietz freely reassembled the syllables of the comet’s name, coming up with this obscure title.
A truly life-affirming record, by two artists defying categorization, Schulevy Maker comes in a limited edition of 300 copies, pressed on black vinyl with a beautiful cover designed by We Are Still Bold and Beautiful.
http://www.mayadunietz.com 
http://julietippex.com/roster/ghedalia-tazartes/
Recorded live at Cafe Oto, London - December 2nd, 2013 by James Dunn Mixed by Daniel Meir
Mastered by Nikos Lavdas at Kiwi, Athens, 2017
Design by We Are Still Bold and Beautiful
Special thanks to:
Ilan Volkov, Stephen O'Malley, Hamish Dunbar, John Chantler, Noam Inbar

SCHULEVY MAKER

Ghedalia Tazartes + Maya Dunietz - Schulevy Maker (excerpts)

The next release is coming up in 2018 and features a very unknown band from Amsterdam. After searching for their whereabouts for a couple of years I managed to finally get contact. Thankfully the remaining artists of the band I have met have given approval and gave me the master tapes to get them remastered.

Deadline Paranoia - Shri(Ongehoord 2018)

Gwenifer Raymond tops off her astounding debut year with an Americana UK 'Best Instrumentalist' Nomination, a 'Best of 2018' nod from MOJO, and a rousing endorsement from ... Iggy Pop !

Her new seasonal single, The Three Deaths of Red Spectre, is out via every digital service, worldwide.

This song was originally born of this live scoring piece I did for a early 20th century silent film called ‘Red Spectre’, so it wasn’t from the outset designed as a Christmas song, but it does feel like a winter song to me. The opening is cold and spiky; it puts me in mind of dark nights and city light reflections on wet tarmac. Then it has these sort of changing seasons in the song, like windy rain and calm sweeping over in sequence. Then back to the start; with the lights all over again.

This time of year is my favourite, when it gets dark early and bitter cold outside; you need to have a hostile environment in the first place to have something to wrap up snug and cosy against. That’s kind of the whole point of a winter festival right? It’s essence is in the contrast.

-------------------------------------

Praise for Gwenifer Raymond's debut LP 'You Never Were Much of a Dancer'...

"A profound talent" - Guardian (5 stars)
"Stunningly confident...in full possession of its art" - UNCUT (8/10)
"An immersive debut" - Observer (4 stars)

CD/LP & vinyl 7" available at tompkinssquare.com

The Three Deaths Of Red Spectre by Gwenifer Raymond

Track 8 from the CD "Just Before Dawn" (AG10); pianist: Luca Miti; composer: Anna Guidi

Just Before Dawn

era tanto tempo che non mi succedeva

Luca Miti - "era tanto tempo che non mi succedeva" (Anna Guidi) (from "Just Before Dawn" AG10)

Various Artists
Strain Crack & Break: 
Music From The Nurse With Wound List Volume One (France)

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential
French free jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic… As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch up.

www.finderskeepersrecords.com
Bandcamp - http://tiny.cc/c26t9y

Strain Crack & Break: Music From The Nurse With Wound List Volume One (France)

Materia-Prima

Igor Wakhévitch - Materia - Prima

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Excerpt from the album, available from <a href="http://www.soundohm.com/product/Luciano-CILIO-/Dell-Universo-Assente/pid/20619/" rel="nofollow" target="_blank">soundohm.com</a>. The critically acclaimed "Dell'universo assente" has finally made available again in a stunning double-LP and CD remastered edition. "These recordings sound as they feel self contained, introspective, and determined, you can feel in the music a sort of necessity that can be rarely found, as in Bill Fay's "Time of the Last Persecution", or in Nick Drake's "Pink Moon": this enormous weight that is bearing on it's creators, the absolute need to exorcize it from their lives, a moment in time where you are invited to hear artists truly in contact with their existence. Luciano Cilio holds that moment in time, an authentic emotional testament, something to be cherished (...) from Jim O'Rourke liner notes
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Luciano Cilio "Interludio" da Dell'Universo Assente

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Excerpt from the album, available from <a href="http://www.soundohm.com/aktuala/la-terra/psych-out-records/">soundohm.com</a>. Following the same path as Third Ear Band in England, Embryo or Gruppe Between, Aktuala tried to mix together the western musical tradition with african and asian instruments, rhythms, cultures and avant-garde forms, creating a pioneering new form of music that went beyond anything heard before. 
During the early 1970s, most aspiring jazzers on the Continent were chasing the voodoo down, or running the noonward race. The (largely) Italian group Aktuala pursued a fusion of a different sort. Aside from Oregon, Aktuala was one of the first bands to craft a coherent, gimmick-free hybrid of improvisational jazz sensibilities with a pan-cultural approach to ethnic music. Led by multi-instrumentalist / composer Walter Maioli, the band (circa 1974) also included percussionist Trilok Gurtu (who went on to play with John McLaughlin, Oregon and Jan Garbarek, to name a few), saxophonist Daniele Cavallanti, guitarist Attilo Zanchi (both now well-established members of the Italian free jazz scene, w/numerous recordings on the Spla(s)ch label), saxophonist Otto Corrado, guitarist Antonio Cerantola, and harpist Marjon Klok. A violinist (Maurizio Dones) and a cellist (Marino Vismara, from Nadma) guest on one track each. La Terra, the group's second LP, contains four extended instrumental tracks that combine Indian percussion, strains of American jazz and blues, and Mediterranean and North African ethnic musics. From the opening lethargic yet colourful rhythms to the ending cataclysmic, almost symphonic, stints of the closer, this album's got everything a grown person could ever want out of a mystical sounding percussion lead adventure in music. Don't miss it, slightly limited to 500 numbered copies, housed in a deluxe textured cover with printed inner sleeve
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Aktuala "Sar" from La Terra

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LOVISONI / MESSINA Hula Om

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