sweet one http://www.nitestylez.de/2016/03/vivien-goldman-launderette.html

from forthcoming reissue : CHA CHA GUITRI french synth wave - St Etienne 1981 - Rare and unissued tracks 

OUT ON 26th JUNE 2014 via BORN BAD RECORDS/SERENDIP LAB

CHA CHA GUITRI "NON NON NON" - 1981

The Fates - Sheila-She Beats In My Heart

In demand drummer for Melt Yourself Down and the Owiny Sigoma Band, Tom Skinner, steps out of the spotlight from his recent worldwide successes to rework Kit Grill's track "Velodrome" with an all live set up. Contrasting from the original's very digital tone, Skinny has brought in the help of his previous collaborator, Shabaka Hutchings. Aware that Kit wasn't too keen on having remixes done, Hello Skinny thought it would be more interesting to do a cover version. The idea was to replay some of the core melodic and rhythmic material but rearranged loosely for a more acoustic set up. Hello Skinny started off as a duo between Tom Skinner and clarinetist Shabaka Hutchings so it made sense to go back to this original format for the basis of this cover version.
The whole piece is built around a one-take performance of the main theme from Shabaka on clarinet. A feat of human physical endurance, he manages to maintain the repetition of the part whilst changing the timbre and texture through circular breathing and other extended techniques. We then overdubbed the counter melody and a bass clarinet part. Having the overall shape of the piece, Hello Skinny was able to play a live drum take along to it.
With a bit of extra percussion, liberal use of delay and some distortion the track was taken to close friend and collaborator Chris Morphitis to mix. The whole piece was bounced to 8-track tape and mixed to 2-track tape utilizing his beautiful Studer desk and gorgeous plate reverb. Job done.

Kit Grill - Velodrome (Hello Skinny cover)

from "TSS TSS" album - OUT 2nd february 2015
MORE : http://shop.bornbadrecords.net/album/tss-tss

CHOCOLAT "TSS TSS"

Cover of Fern Kinney's 'Love Me Tonight'

promise
               to 
                    Love.

Mixed & Mastered by Ella & Florian Zwietnig of UMA

Love Me Tonight (Fern Kinney Cover)

Lena Platonos - Shadow Of Blood

Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hiphop and Afro-Beat, the London-born, New York-based Vivien Goldman has made documenting music her primary life work.  But between 1979-82, Goldman was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on 'Resolutionary', courtesy of Staubgold Records.

Vivien Goldman: Launderette

Artist: MARY OCHER
Album: THE WEST AGAINST THE PEOPLE
Klangbad73CD / LP / Digital Download
Release Date: 10.03.2017
Distribution: Broken Silence, Cargo, A-Musik
www.klangbad.de
www.maryocher.com

Mary Ocher - The Endlessness (Song for Young Xenophobes)

from forthcoming reissue of 1981 LP+12" "What Is This Thing Called 'Disco'?" by Melbourne post-punk disco project Asphixiation. Check out the original 1981 video here: https://www.youtube.com/watch?v=MskgOkBPRiI
Reissue on LP+12" and digital via Chapter Music on June 2, pre-order here:
www.chaptermusic.com/store/asphixiation/what-is-this-called-disco
www.chaptermusic.bandcamp.com/album/what-is-this-thing-called-disco
Digital stores: http://radi.al/asphixiation

"What Is This Thing Called 'Disco'?"

Asphixiation - Aural Risk

from the "Forever Beast" CS (NNF335)
Not Not Fun / 2017

BEHOLD THE BEAST:
https://filthyhuns.bandcamp.com/album/forever-beast
https://midheaven.com/item/forever-beast-by-filthy-huns

Filthy Huns "Forever Beast"

From the album Anne.  Available November 16, 2018 from Western Vinyl.

Bandcamp https://josephshabason.bandcamp.com/album/anne
iTunes https://itunes.apple.com/us/album/anne/1427808233?ls=1&app=itunes
Spotify https://open.spotify.com/album/19FD6RN5K3xYFThAHM4fGy?si=0hUO0rFVQAigvSPTvJL_4w
WV http://westernvinyl.com/shop/wv182

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/
Facebook https://www.facebook.com/josephshabason

Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. 

Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise.

Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible.  The subsequent piece “Toh Koh” then drifts into playful disorientation as a lone female voice echoes the two syllables of the title, recalling the vocal techniques of composer Joan La Barbara, or even the light-hearted mantras of Lucky Dragons. From here the album veers back onto its aesthetic thoroughfare with “November” where Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate.

Vivien Goldman: Launderette

Staubgold

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