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GUO - a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright - collaborate with Crystabel Riley (drums), Fran Edgerley [Assemble] (text) and Peter Strickland (film). GUO - a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright - announce GUO4, a new release on Mute available on vinyl and digitally on 20 September 2019. On GUO4, their first release for Mute and the latest in an ongoing series, the pair have collaborated with Crystabel Riley (drums), Fran Edgerley [Assemble] (text) and Peter Strickland (film). Peter Strickland's film has just been announced to premiere at the 76th Venice Film Festival on 6 September. Watch a teaser for the film - a confrontation between two swimmers in a locker room - here: https://youtu.be/f031c56f_5E Strickland explains, “The framing of traditionally macho scenarios in a homoerotic context takes its cues from the covert porn of Bob Mizer. The combination of muscle and beat-up lockers somehow evoked the music in my mind.” The name ‘GUO’ itself is ancient Chinese for a metal vessel, or cooking pot, and the resulting work layers alto saxophone, electric guitar, feedback and metal distortion alongside the distinctly-voiced 'ekphrasis' response from a range of collaborators operating across different mediums. The album was mixed by Marta Salogni. It also features original etchings by GUO and stills from the film. Previous releases have included ekphrasis by the English musician, author and professor, David Toop (GUO1) and the American filmmaker (Childhood of a Leader & VOX LUX) Brady Corbet (GUO2).

82 pages 5 x 7.5 inches  Paperback Edition of 1,000 'One of the world’s most singular guitarists, Loren Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades, Connors has wrung distinct shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O’Rourke, Keiji Haino, and Kim Gordon.  In the mid-80s, Connors took a partial break from music and focused instead on the art of haiku, for which he received the Lafcadio Hearn Award in 1987. With his wife Suzanne Langille he also co-wrote an article on blues and haiku, “The Dancing Ear,” published in the Haiku Society of America’s journal. It was during this period that Connors penned the material that appears in Autumn’s Sun, a chapbook first published by Thurston Moore and Byron Coley’s Glass Eye in 1999. The text features diary excerpts from 1987, lyrically fragmented observations interspersed with haiku-like poems that paint an idyllic impression of the passing seasons in his home of New Haven, Connecticut. With synesthetic perception, Connors gazes from tranquil domestic streets. Sycamore, elm, and catalpa trees are activated by the breeze and made to rustle in unison with their natural and artificial surroundings, including the howling dogs from which Connors derived his ‘Mazzacane’ moniker. As summer fades to winter, Connors portrays death as an undramatic certitude, the flux of his own maturation reflected in musings on his son’s. Like his music, Autumn’s Sun is tender without being sentimental, conjuring those rare, delicate moments when time stands still. This edition includes “The Dancing Ear” and an introduction by Lawrence Kumpf.' - Blank Forms

"Their 5th album finds the band in a studio again, in their label Trost Records hometown Vienna, with time and the desire to try something new. Seven compositions in the disctinctive strong FULL BLAST nature get an exciting electronic treatment by Michael Wertmüller (sounds/electronics by Gerd Rische- head of Berlin Acadamy of Electro-acoustic Music 1995-2014) during and after the recording." "With all the projects Peter Brötzmann is currently working on, Full Blast -- with the precise and dynamic Swiss rhythm section of Marino Pliakas and Michael Wertmüller -- is the most consistent and the longest-running. Their fifth album finds the band in a studio again, with time and the desire to try something new. Seven compositions in the distinctive, strong Full Blast nature get an exciting electronic treatment by Michael Wertmüller (with electronics by Gerd Rische, recorded months before his death in October 2015) during and after the recording. For mixing the band decided to work with Gareth Jones (well-known for his work with Einstürzende Neubauten and Depeche Mode), whom they have used with Pliakas's band Steamboat Switzerland before. Full Blast have created an album that in its nonconformity and richness in variety stands on his own in contemporary jazz."  --- Peter Brötzmann / reeds Marino Pliakas / e-bass Michael Wertmüller / drums Gerd Rische / electronics --- CREDITS:Recording: Martin SiewertProduction: Konstantin DrobilMix: Martin SiewertMastering: Martin SiewertArtwork: Peter Brötzmann