dang!  this is FRESHHH fam! I would love to work w/you (l1nk in my bakgrnd)

eyeseye

in the ciliary copse

Lifting from the upcoming twin LP audiphile reissue edition of Devon Folklore Tapes Volume VI - Theo Brown and the Folklore of Dartmoor
Please help us realise the project and the FTX anniversary book by pledging through this link - 
https://www.kickstarter.com/projects/folkloretapes10/folklore-tapes-ten-year-anniversary-editions?ref=project_build

Theo Brown and the Folklore of Dartmoor - The Snaily House

The Threshold HouseBoys Choir was a project by Peter “Sleazy” Christopherson. Operating out of Bangkok, Thailand, the Throbbing Gristle and Psychic TV founding member started this audio and visual endeavour after Coil’s conclusion.

Despite the name, it was a solo project relying heavily on computer generated vocals. The name was derived from a play on words, combining the terms houseboy, house of boys, boys' choir, and Threshold House, which was Coil’s own label. "Form Grows Rampant" is the soundtrack of a film shot by Christopherson (a video capture at the GinJae Vegetarian Festival in the south of Thailand) and his first major musical project since the tragic death of John Balance and Coil’s subsequent demise.

The music is a suite of lengthy dense atmospherics that combine shuddering electronics with sampled vocals, eerie digitalia, buried melodies and sinister undercurrents hinting at a gleaming heart of darkness, with a joyful melodic progression that sounds positively triumphant towards the end of the album. It's both Coil-esque and quite different, and is undoubtedly the worthy successor of the essential project that Christopherson created with his partner John Balance.

First released in small quantities in 2007 as a mixed CD/DVD set, this is the first time it is released on vinyl, CD, and digital. This reissue has been mastered from original files by Sidney Claire Meyer at former Deutsche Grammophon studios Emil Berliner in Berlin, using the half speed mastering process, and pressed on heavy vinyl at 45 RPM. Limited Edition of 1000. Printed on inside out on heavy 350g cardboard. Gatefold sleeve features stills from the movie in chronological order (Warning: contains explicit graphic images depicting religious devotees in trance-like states, tongue slashing, partial skinning, impaling through cheeks, ears, etc). Includes original liner notes by Peter Christopherson.

File under COIL Forever, Religious IDM, Ecstatic Classical, Post Ethnic Industrial Exotica, Erotic Trance and best album ever heard.

The Threshold HouseBoys Choir ‎- Intimations Of Spring

from the "Gateway" CS (SILK134)
100% Silk / 2022

GATEWAYS:
https://foans.bandcamp.com/album/gateway-2
https://midheaven.com/item/gateway-by-foans

FOANS - SATRIALE'S (SILK134)

01 The Mimic And The Model - A1

View is a solo piece written for cellist Emile Girard-Charest and can be realized either on cello with a "bach-bow" covering three or four strings, or with a bowed fretless guitar with the two top strings removed.

Emile Girard-Charest - Cello

Recorded live at UdK, Berlin on 10th of July 2019

View (for cello)

BUY HERE: https://www.seance-centre.com/shop/smokey-haangala-aunka-ma-kwacha

There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s Aunka Ma Kwacha (The Money is Gone) released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustratorWilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality. In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, Aunka Ma Kwacha resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor. There will always be some flowers for your grave, Smokey.

Tracklist:
A1 Saanguna Lyoolole (2:36) A2 Amafuna Kanyama (3:22) 
A3 Cinyala Munyanaka (3:14) 
A4 Read it Again (3:20)
A5 Tulondoke (3:29)
A6 Flowers on My Grave (3:38)

B1 Lungowe (3:34)
B2 Ma Kwacha No.2 (3:05) B3 Times and Changes (4:07) B4 Ndausa (3:28)
B5 Iwe Maliya (3:02)
B6 Maybe Tomorrow (2:31)

Release Date: Nov 15th 

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

Aunka Ma Kwacha (18SC)

Smokey Haangala - Lungowe (18SC)

B1 Swerl

Buy Tape / Digital

Siavash Amini & Saåad - All Lanes Of Lilac Evening (Excerpts)

M. Quake
'Fall In Love With Yourself'
Vocal/dub double A side 7" & digital
Mastered by Rupert Clervaux
Out on Valentine's Day 2020
----
Following Locks On Our Doors, Not On Our Hearts, a long form confessional for Blackest Ever Black, M. Quake returns to redirect relationship lament into alternate, shifting worlds for 'Fall in Love With Yourself' via Purely Physical.

Intentionally released on Valentines Day, we are treated first to an off the cuff philosophy on “how to love”. Side A uses a sample from an interview with Eartha Kitt, her voice sitting atop Quake’s stripped back, sticks ‘n’ stones production style which utilises background noise elements in the interview - birds chirping, dogs barking - with Eartha’s powerful attitude emphasised by an almost gospel-like dubbed out organ.

Side B, in classic instrumental dub style, acts almost as a demonstration or exhibition of this new found self love, giving us the fully fleshed out version that unveils all the sounds present in the A side and plays to all of the producer's strengths. What’s left of the vocal is echoed to smithereens, the sub bass line and resonant chords all harmoniously combining to create a surreal, Disneyland-like utopian setting.

Having previously held court in several secret circles including F ingers, Th Duo, Tarcar and - possibly - Kallista Kult, Quake’s influences are audible and there for the taking. With 'Fall in Love With Yourself' and its BEB predecessor, a significant solo narrative is beginning to take shape, shimmying out of the dark.

M. Quake - Fall In Love With Yourself - Dub

True Love Waits

https://open.spotify.com/artist/40of1vgDBewv9cYhubKEYD?si=vpcNUJFcRKWzoeYPDVLp1A

True Love Waits

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