Magnus is a Cow's Name

Autotomy is a collaboration between Belgium’s Sleeperhold Publications, Brooklyn-based musician Patricia (Max Ravitz) and the Dutch artist Louis Reith. This output is the result of a long process of contemplation, discussion and elimination which gave us a record that encapsulates both Patricia’s sense for hardware production and dance floor rawness. Describing this release is not a simple task. So we’ll just tell it like it is: it's a record that slows down and, in this process, reveals its mystery. Referencing the title of this release, wunderkind Max Ravitz seems to provide the listener with the possibility of transformation, a way to shed part of your own being.

When running though the tracks, one discovers the essentials of Patricia’s sound architecture: the presence of lightness, of longing, mixed with the ability to deny it in the next instant. Sonically, there’s a careful balance in these productions that belies their fundamental function as body music. It’s ambient yet danceable, approachable despite it’s often deconstructed layout, and ultimately warm and inviting.

The entire record is made using Ravitz collection of hardware, which gives it its uncompromising texture. The presence of kicks, beats and soundscapes does not originate from a clean digital source but from a physical action, an excerpt of movement, a tick of the human hand. It is floating versus rhythmical movement, visceral versus strict. But above all, it is alive.

The artwork used for Autotomy’s sleeve design and the etching on the B-side was provided by Louis Reith. (All three tracks feature on the record’s A-side.) Just as Patricia, Reith tries to resist technology in favour of physical and craft-based media, though the contrast between digital and analog is always present.

Dutch artist Louis Reith produces works through a variety of different media, ranging from collages to wood sculptures, to paper objects and ink on paper works, always keeping an interest in simple abstract shapes and their combination. With an interest in materiality Louis resurrects found footage and creates new landscapes of shape and color, celebrating the human hand at work. Deliberate compositions form an illegible visual language where hidden words are portrayed as abstract sculptures.Reith also co-runs Jordskred, an independent publishing company worth checking out.

Ravitz certainly is unstoppable and releases in a relentless and uncompromising fashion.

Besides many collaborative projects with an array of artists (released under monikers such as Masks, Pulpo, Inhalants, DSR.MR…) he's released music on labels like Opal Tapes, L.I.E.S., Russian Torrent Versions, Ghostly Intl.,… 2017 has been quite a year for him so far. He not only founded his own imprint, Active Cultures, but also released a triple LP. Ghostly Intl. describes the release as a “kaleidoscopic, a multi-faceted techno trip” and we couldn’t agree more.

Official tracklist
1. Learned Behavior (6:14)
2. Diminished Feeling (4:58)
3. Looking Outside (4:18)

Available formats and quantities:
- Vinyl only, 350 pressed copies.

Description of physical packaging:
- One-sided LP. A-side contains music, B-side contains an artist etching (done by Louis Reith)

180 gram vinyl.

www.sleeperholdpublications.com

Autotomy

SHP #5.6: Patricia - Dimished Feeling

Airhead - Macondo

Falty DL - Artemis

The Cube of Unknowing - Planet

From the album "At A Festival"

releases on cassette and digitally 11/17/17

to purchase:
hausumountain.com/?page_id=9

for more info:
hausumountain.com/?page_id=3274

At A Festival

Form A Log - The Sizzler

From the album "Multiple Hallucinations"

releases on cassette and digitally 11/17/17

to purchase:
hausumountain.com/?page_id=9

for more info:
hausumountain.com/?page_id=3266

Brett Naucke - Hallucinations I-V

Artist: M.E.S.H. 
Album: Hesaitix
Cat.Nr: PAN 82
Format: LP / Digital
Release Date: 10 November 2017

buy: http://p-a-n.org/product/m-e-s-h-hesaitix-pan82/
bandcamp: https://optimate.bandcamp.com/album/hesaitix

Further departing from both the cinematic abstraction of ‘Piteous Gate’ and the hectic drums of ‘Damaged Merc’, Berlin producer M.E.S.H.’s new full-length, ‘Hesaitix’, is marked by its hyper-ornamented rhythms and a sense of pensive, moonlit spaces.

The atmosphere has shifted; the radical deconstruction of previous releases has given way to subtler interventions, building new structures in strange territories. Shifting from the meditative to states of manic unease, Hesaitix is an unnerving injection into both the social space of club music and the interior space of digital audio fantasy.

How did I become so stupid?

A sound can be both formless and over-rendered, like a boneless but fleshy hand from a life drawing class.

What agent could set these broken sounds in motion?

A laugh behind an evil curtain. A drummer that’s cool and grotesque, a detuned siren. A brushfire under a full moon.

Recorded in Berlin and Umbria, Hesaitix sees Janus resident and PAN staple M.E.S.H. firmly engaged in a kind of sonic worldbuilding, a place where the unconscious and the alien intersect.

The album is mastered by Rashad Becker, featuring artwork by Michael Guidetti & James Whipple.

Hesaitix

M.E.S.H. - Search. Reveal. (PAN 82)

Title track taken from A MIDDLE SEX - SOUL SWAYS WEST originally released in June '15 on C60 cassette.

Now remastered for vinyl and released by Public House Recordings 2/10/17

Order here - https://www.normanrecords.com/records/167542

A Middle Sex were :: Karl Sveinsson :: Matthew Ashworth :: Philip Sykes :: Edwin Stevens

Exploratory electronic repeato music that harks back to the golden age experiments of This Heat and Throbbing Gristle. Dark but essential.   

www.theaudaciousartexperiment.com

A Middle Sex - Soul Sways West - (Vinyl Remaster)

'British Warm' is taken from Normil Hawaiians' debut album 'More Wealth Than Money' (1982). Remastered and reissued this December through Upset The Rhythm.

http://www.upsettherhythm.co.uk/
http://normilhawaiians.com/

Normil Hawaiians had a transformative 1982. With two 7” singles and a 12” EP under their belts they suddenly found themselves disillusioned with the increasingly generic sounds surrounding them, so they forced the hand of change and began reaching out with that very hand. The band’s true constant in Guy Smith soon found himself with a new crew of musicians, Simon Marchant, Noel Blanden and Mark Tyler. Normil Hawaiians’ communal take on post punk quickly sprouted leaves from its mouth, and began carving out a new furrow. Greater emphasis was awarded to improvisation within the group and as a result their songs embarked on longer, freer journeys towards the beaten bounds. They wanted these new songs to bear the weight of their new collective spirit so comfort zones had to be left behind. Tape loops, echo boxes, extended percussive sessions and duteous faith in the tones emanating from a particular old wah-wah pedal were all employed by Normil Hawaiians to stretch their sonic fabric into wild and redolent new dimensions.

With Illuminated Records interested in the band’s new visionary approach, Normil Hawaiians relocated from their South London dystopia to a rural idyll in the Welsh hills, determined to develop further this raw language for themselves. They booked into Foel Studios near Llanfair Caereinion for an extended period of time, set the tapes rolling and didn’t look back. They were somewhere they knew they could experiment; at a studio that understood the results would be uncertain. Dave Anderson, who managed and engineered at Foel was exactly the right person to work with them. Anderson had come from an experimental background himself, having played in Hawkwind and Amon Duul II. Normil Hawaiians were encouraged to explore their ideas beyond limitations with Anderson happy to leave the tape recording to capture their embryonic improvisations taking shape. Anderson even joined in on bass for several of those sessions as the ensemble strove to find its authentic voice, supplemented further when their cellist friend Klaus dropped by to spend a spell with them. 

At this very moment Normil Hawaiians existed solely for the music, living together in a small cottage in the studio’s shadow, sharing everything together and working long days to nurture and then burnish the music they had discovered between them. This is how the band’s debut album ‘More Wealth Than Money’ was formed, through trial and close listening, through cultivation and patient growth. Of course there were significant amounts of mushrooms involved too and several UFO sightings, but when the sheep began to march in time to the music Normil Hawaiians knew they were creating something unique.

On December 1st, 35 years since the album first appeared, Upset The Rhythm will be reissuing the newly re-mastered ‘More Wealth Than Money’ album, alongside a further full-length collection of demos and unreleased tracks from the album’s overlooked corners. Both the 2xCD and DLP versions also come with a booklet contextualizing the release, full of anecdotes and photos from all band members. This release follows on from 2015’s ‘Return Of The Ranters’, Normil Hawaiians’ lost final album from 1985, which ultimately saw the light of day in a different age through Upset The Rhythm too.

More Wealth Than Money

Normil Hawaiians - British Warm

not really trying. the sounds on here are mostly old and stupid.
write zine about food and music called CHEWn!.

Magnus is a Cow's Name

single use plastic