On the occasion of the passing of Jon Hassell.

Fanfare (for Jon)

Nachthorn, for midi-controlled organ

Composed and programmed for midi-controlled organ by Maxime Denuc. Recorded on 5 and 6 May 2021 at St. Antonius Kirche, Düsseldorf-Oberkassel, by Harry Charlier. Mixed by Raphaël Hénard at La Savonnerie, Brussels. Mastered and cut by Frédéric Alstadt at Mont Analogue, Bever. Artwork by Jonathan Martin. Produced by Thomas Van de Velde for Vlek Records, supported by the Fédération Wallonie-Bruxelles. Thanks to Markus Hinz, Benedickt Aufterbeck & Thomas Stöckl from Sinua, Daniel Bleikolm, Cindy Castillo, Marc Jacobs, Fanny Calès, Haleh Zahedi and Josquin Denuc. Vlek 36 © ℗ 2022

B3 - Papillons

B2 - Function Music

B1 - Ouverture

A4 - Agoraphobia

A3 - Düsseldorf

A2 - Infinite End

A1 - Edo

Sad Whales

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time-based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self-released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

Release by Musique Plastique / Recurring Dream

PRE-ORDER HERE: www.seance-centre.com/other-releases…allet-wetlands

For EU distribution contact: info@rushhour.nl
For NA distribution contact: info@seance-centre.com

Release date October 11th 2019

Wetlands

Sam Mallet - Wetlands (MP006/RD01)

Louise Landes Levi/Timo van Luijk/Bart De Paepe
Kami
Sloowax 007


Like the ever changing shapeshifting nature of Kami in Japanese Shinto faith, the music on this new collaborative lp is a mirror reflecting, obscuring or modifying the ever changing rivers of sounds. 
Louise Landes Levi has a long history in music from studying sarangi with Annapurna Devi and La Monte Young to performing with like minded poets as Ira Cohen and Simon Vinkenoog. As on the previous Ikiru lp she collaborates with Timo van Luijk  (Af Ursin, Elodie, Asra, In camera etc) and Bart De Paepe (Ilta Hämärä, Bombay Lunatic Ensemble etc). The trio weaves several delicate threads together into a surrealist, organic but overall poetic language. Includes a postcard. Limited to 500 copies.

Louise Landes Levi/Timo van Luijk/Bart De Paepe

Vlek is Brussels’ patois for Junk. Cheap goods. For things that just fall apart as soon as you hold’ em. The name is testament to our willingness in creating just the opposite.

A1 - Edo

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