Pièce pour chanteurs à têtes rotatives

Gyrolalies (Extrait)

Ample Place

From Luciano Maggiore & Michael Speers - necesse est numquam revelare stercorem tuum CD (KK-11)

Luciano Maggiore & Michael Speers - necesse est numquam revelare stercorem tuum (i)

APOD0061 Jonathan Valdez and Haela Ravenna Hunt-Hendrix Takeover. Edition Erich Schmid Ep. 37

Released in 2021 via Station 14. 
Limited cassette edition of 25 hand-numbered copies.
Unmarked black cassette shell. Housed in a glossy, full color 8.5" x 4.5" four-sided resealable folding poly bag with mini promotional insert.
Made to coincide with one-off Chicago live performance. Remaining copies were distributed via the Small Mercies webstore.

Divination

Out of Strength comes Sweetness

Colonia Dignidad was the settlement of a German evangelical sect.

After being prosecuted for child abuse in Germany, the group fled to Chile in 1961. Like similar religious sects, it was characterized by the outward appearance of a unified, godly community with well-tempered cultural activities and social welfare, but inwardly and in its environment by oppression, sexual abuse, and exploitation. In the 1970s, it unquestioningly inserted itself into Pinochet's regime of terror, aiding in the imprisonment and torture of political prisoners, weapons production, etc. Since the end of the 1980s, there has been a legal reappraisal of the C.D.'s crimes in Chile.

Its successor organization makes a living from tourism.

The C.D. project uses, on the one hand, a series of documentary recordings of contemporary witnesses, and on the other, a set of melodic improvisations (MIDI files), improvised in the spirit of the impressions of terror, tension, claustrophobia and fear associated with the Colonia. CD 2 (Knochenstückchen) directly reflects this atmosphere. CD 1 (Reue?) on the other hand, is characterized by the contradictory breadth of the statements found after the dissolution of the sect: Denial of atrocities to glorification of the C.D. by leaders who returned to Germany against the professed traumas of formerly abused inmates and exploited community workers.

For this purpose, the eyewitness recordings were sound-modified to a considerable extent. The MIDI files were played back with a variety of virtual instruments (piano, guitar, sax, turntable, lung machine, barrel organ, synths, etc.) in a multitude of modifications (speed, pitches, loops, harmonic and tonal variations), so that the 11 pieces from CD 1 and the 16 pieces from CD 2 each represent a closely interwoven overall composition.

Ralf Wehowsky is one of the most respected practitioners of radical music of our day. He was the founding member of the seminal German group P16.D4 and ran the legendary experimental label Selektion whose ground-breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Andrew Chalk, Jim O'Rourke, Achim Wollscheid, Lionel Marchetti, Kevin Drumm, Kouhei Matsunaga and Bruce Russell. 

Design - Maja Larsson

RLW - (Knochenstückchen) excerpt

The Brvtalist is proud to present Trapdoor Tapes - Document One. The perfect introduction to the Australian tape label, this mix is assembled by label-head Luke Holland and includes selections from previous releases, unreleased tracks and forthcoming material from Trapdoor. We are also pleased to announce Document One is available on cassette in limited numbers.  For an interview by Per Najbjerg Odderskov (@per-najbjerg-poulsen) and more information please visit: 

www.thebrvtalist.com/trapdoortapes/ 

@trapdoortapes

Track list: 

1. Luke Holland - Decomposition (Excerpt) (Exceprt from Decomposition C30, TT072, Available) 

2. Military Position - Not That Kind Of Girl (Taken from Live Assault 280915, Previously Unreleased Track) 

3. Concrete Mascara - Nothing Left To Burn (Taken from Aftertaste of Shame C47, TT084, Available) 

4. Transparent Flesh Flag - Put On Your Boots(Taken from forthcoming cassette available late January 2016) 

5. Rope Society - Bestial (Taken from Dissolve C30, TT082, Available) 

6. Sentenced For Life - Despertar De La Bestia (Excerpt) (From forthcoming split cassette with Mshing now available) 

7. Ebola Disco - Kamakaze (Taken from Discography C90, TT074. available) 

8. Prognostic Circle - Conspiracy (The Cycle Continues) (Excerpt) (Taken from forthcoming cassette available late January 2016)

9. Word of Life Church SS-V (Taken from The Ceremony of Life & Death C30, TT084, Available) 

10. PRAETORIAN GUARD – UNTITLED (Excerpt) 
(Taken from the Ever Blood Those Flowers Ov Rome C120, TT083, Sold Out)

11. ANDREW COLTRANE & LUKE HOLLAND – FIRE MUSICK (Excerpt) 
(Taken from Fire Musick C32, TT077, Available)

http://trapdoortapes.storenvy.com/ 

Trapdoor Tapes - Document One

Pygmalion carved a beautiful woman from ivory and when he kissed his statue’s cool white lips he found that Aphrodite had turned them pink and warm with life. From ephemera, from tulle and satin, THE RITA has assembled a fantasy woman; a ballerina, a fairy, a sex worker – violently she is animated into existence as a sonic monolith dense and menacing as Richard Serra’s looming steel. With the double LP set THE LILAC FAIRY, THE RITA reaches an apex of fixation on the dancer’s body. This obsession has grown simultaneously more focused and greater in scale; here the sonic object is not a dancer nor any of her parts, neither thigh nor ankle; THE LILAC FAIRY records the ritualized construction of a garment, THE LILAC FAIRY is a costume, a tutu empty of body altogether.  
Tutu meaning “ass” in some archaic French lexicon, tutu encircling the hips and extending up into a bodice from which the woman rises like a blossom, tutu projecting from the body as a frothy, diaphanous frame for the genitals, tutu echoing the frilly labial folds. The sanctity of ballet as elite aristocratic high art has always been a thinly-veiled facade for blatant eroticism, where women are interchangeable pieces of scenery arranged in colonnades for the pleasure of the male gaze. The Lilac Fairy herself was originally choreographed by Imperial Master Marius Petipa for his unskilled but beautiful daughter Marie as a mime part, but has been modified over the past century to become one of the most taxing characters in the female dancer’s repertoire, with a punishingly slow variation of repetitive steps that must all be executed without betraying any signs of effort or fatigue; in every iteration the dancer wears a wide and vacant smile. In the words of Prima Ballerina Assoluta Margot Fonteyn: “If audiences knew what pain the dancers were enduring, only people who like bullfights could bear to watch it.” 
THE LILAC FAIRY is a ricochet between fabrication and obliteration, degradation and ritualized exaltation. As the fantasy woman is assembled through the Total Fetish Object of the tutu, so she is reduced from personhood to the garment that encases and adorns her. The tutu is her Reliquary, to build it is both an act of worship and a proclamation of ownership. Only within the noise does she ascend, within the inimitable walls of THE RITA that choke every frequency, devour all and drown all, shatter every object. Everything is reduced to geometry, a cello attempts to accompany and is pulverized. Within the abstraction of harsh noise, THE RITA simultaneously brings to life and annihilates the Total Fetish Object, and in this performance of gestures she is elevated to the realm of non-objectivity, the Black Square of Malevich, Vessel and Void -- pure. 
Listeners would be wise to note that Sam McKinlay has transcended the trope of the romanticized cult of genius surrounding solitary harsh noise, and THE RITA is now half-woman, with the integral presence of Arlie Doyle as both the embodiment of the objectified form/performative feminine and collaborator in the sonic deconstruction of her own body. Additionally, THE LILAC FAIRY utilizes the contributions of several skilled craftspeople and musicians, with the tutu constructed by Katherine Hotmer and fittings to Doyle’s body performed by Rachel Hayward, Luke Tandy’s assiduous recording of the process of construction, and cello accompaniment by Leila Bordeuil. The sound that has made McKinlay a modern master of harsh noise remains intact, but the expansive critical and collaborative scope of THE LILAC FAIRY makes it a hallmark in the oeuvre of THE RITA. 
- Kristin Hayter

The Rita - The Lilac Fairy 1 Extract (from The Lilac Fairy Double LP)

Urashima

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