Revjelde's 3rd album Amicus is a radical, industrial requiem mourning the loss of a dear friend during the pandemic and of liberty during lockdown.    

Recorded in England & New Zealand between 2020 and 2021 Amicus features 12 tracks of brittle electronics, anguished spoken words + scorched acoustic instrumentation. 

The album is accompanied by a limited edition 7" EP of remixes by BERNARD GRANCHER, HIDDEN HORSE (Beautify Junkyards) + ZYKLUS.    

"brilliant Tackhead + 23 Skidoo vibes, avant-garde, disaffected and unique" 
JIM JUPP - BELBURY POLY / GHOST BOX

"a mindfuck of an unholy cosmos where time is breached and fashioned to the band’s own ends" MONOLITH COCKTAIL

voices + words - Peter Hope
saxophones - Tim Hill
all other instruments + production - Alan Gubby except:
drone guitar + bass on fukko the clown  - Neil Whitehead
crystal harp on baelam wakes - Lewis Riddlesworth
field recordings on in & out again - Richard Bentley

mastered by Dean Honer @ The Bowling Green
original artwork & photography by Jon Kemp
collage, additional artwork & design by Luke Drozd

released May 6th 2022 on Buried Treasure Records 
in loving memory of Jon Alan Kemp 1965 - 2020

https://buriedtreasure.bandcamp.com/

Amicus

REVBJELDE - AMICUS PROMO MIX

Motorik dirty and clean hammered brutally together; from the very start the anthemic and celestial do battle with screaming earthbound guitars, one minute demented imps are mercilessly bashing out THAT beat, and seconds later you're gliding serenely on an effortlessly propulsive ice cold rainbow of sound. More motorik than you imagined could exist collides and combines in the aptly named everything mix. Hold on for a rough ride on an everlasting skyway.

IdleRichsRawAndPureChuggingTranceDanceRaygunGothicTehchnicolouredMotorikEverythingMix

'God Is Seen (Honor To The Hills)' - a shape note hymn performed by Alan Lomax during a lecture in Texas, 1969, bounced between 2 tape machines and fx units. This recording was used to open the Plinth set at the Alan Lomax centenary event hosted by Stone Tape Recordings in the Asylum at Peckham, London 31/01/2015.

Lomax Loop

A generative piece made of evolving tape loops by Michael Tanner for use in the Dada Garden event at Wimborne, 24/04/16

Emma Morton - Vocals
Alison Cotton - Viola

"Since Friday I felt that I was going to be like mother, and the best thing for me was to die.”

The Druitt family name can be seen scattered around the town of Wimborne, going back over 200 years. Montague - the third child of William and Ann - was born in 1857 here in the town. As a young man he was a prodigy of sorts - a county-grade cricketer and career as a promising barrister lay ahead of him, though a sea-change in his life was afoot by the time he’d moved to the Inner Temple, London.

Supplementing his education by taking up a post of teacher in the Blackheath Boys School, there were allegations of Druitt falling in with a bad crowd and owing gambling debts - yet on the field of sport, his popularity grew. Rumours also began to grow of his possible homosexuality, a fact never verified. On the 30th November 1888, Montague Druitt was dismissed from the Blackheath Boys school for reasons unclear. His local cricket club removed him as treasurer and secretary, claiming Druitt had ‘Gone abroad’.

Various theories have been put forward for the nature of Montague’s fall from grace. At some point, around the 4th of December, Montague placed heavy stones into his pockets and stepped from the bank into the Thames, somewhere near Chiswick. His body was not recovered for almost a month. Detectives found around £6,500 in his suit, a large sum, possibly the rest of his yearly wages from the school. A note left in his rooms addressed to his brother expressed concerns that, like their Mother and Grandmother before them, Montague was showing the first signs of hereditary mental health issues that had dogged the Druitts for generations. Yet even this note is speculation, paraphrased by William and disposed of soon after.

Druitt became something of a local celebrity when named by Constable Melville Macnaghten as the figure behind the infamous Whitechapel Murders, Jack The Ripper. Macnaghten had not been involved in the case until a year after the murders, but would drop hints as to the identity of the ‘sexually insane’ killer who’d taken his own life in 1888. Contemporary evidence seems to indicate that, given his stated involvement in certain cricket matches in various locations, it could not have been possible to travel from Whitechapel to the countryside and committed the killings. However, in personal correspondence, Macnaghten insisted Druitt was the guilty party, and moreover, that his own family also believed in his guilt. After retiring, Machnaghten claimed to have destroyed all documentation which named Druitt, including supposed hard evidence which linked him to the case.

My own personal relationship with the Druitt would be furthered every June, in the shape of the annual Wimborne folk festival. My favourite spot for both myself and friends to sit and watch proceedings would be under the large tree in Minster graveyard, amongst several of the resting spots of the Druitt family. Montague’s sad story would be wheeled out as cheap publicity in local papers, seemingly on a 5 year cycle, once again linking him to murders it was almost physically impossible for him to commit; even in death, his brief life has been indelibly stamped with the mark of violence, mutilation and murder.

Having moved from Dorset, I find myself thinking of him often, and the circumstances that led to him taking his own life in the Thames. The lucidity required which, if his Brother’s words are true, Montague exerted in facing his own demons. 

So here is a piece for Montague John Druitt. It’s comprised of viola, plucked autoharp, a hydrophone recording from the depths of the Thames and the words of Hildegard von Bingen, sung in latin:

"I recognised my ways were wicked

so I fled you

But now, you deceiver, I will fight you face to face

Queen humility, come with your medicine, give me aid”


Four Stones For Montague Druitt

Lucky Luke contra os tomates assassinos
Demo Tape 
Rio de Janeiro 1989

João Branco - voz
Edinho - guitarra
Formigão - baixo
Kadu Carlos - Bateria

participação especial ::: Maurício Mauk - guitarra

Two To Ride - Output - Stereo Out

Fun Man - Output - Stereo Out

Ghost Of Elvis - Output - Stereo Out

King Of Ye Ye Ye - Output - Stereo Out

Slug Beetle _ Daemonds are !@#$%^&

live mix • Brazilian music
first night of Lotje in Rio

including music by Amabis, babe, terror, A Barca, Boi de Maracaña, Tom 'Orfeu Negro' Jobim, GRAN Quilombo, Marlui Miranda, Mateus Aleluia, Apinajé tribe, Déa Trancoso, and more...

Lotje No Brasil (✦ live mix / Rio de Janeiro)

"Je voulais faire un mix plutôt soul ou lover's rock mais ce n'était pas l'ambiance du moment... J'ai donc fait quelque chose de plus atmosphérique ou classique. A écouter sans doute tout seul..." - c'est ainsi qu'Amos Childs, l'un des trois musiciens du groupe anglais Jabu, a répondu à notre demande de mix pour terminer 2020. Sa réalisation évoque les atmosphères mélancoliques des disques de son groupe, entre chanson nocturne et hip-hop de narcolepsie. L'album sorti fin 2020 tourne en boucle sur nos platines virtuelles et solitaires - celles qui ne s'accommodent que des musiques qui ont charge d'âme. Mais, tout aussi étrange que cela puisse paraitre, ce mix s'écoute aussi comme la bande-son des fantômes qui peuplent les nuits de Noël, et apparaissent juste après minuit.  


Headache - Grouper
Dying - Ryuichi Sakamoto
Metallic Taste of Patience - Eartheater
Into The Traffic - Laila Sakini
My Thoughts Are To Thee Drawn - His Name Is Alive
Sleeping Head - Scythe
Why Do You Love Me? - Harold Budd / Elizabeth Fraser / Robin Guthrie
Let’s go out and Dance - TIBOR SZEMZŐ
Tracey - O Yuki Conjugate

King Of Ye Ye Ye - Output - Stereo Out

kyron

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