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Maybe the most important document of being a citizien of Great Britain there is.
Recordings of important ramblings/poetrt, some bits from the telly and more.
Regional Bears, 2021
Russell Walker – The Lotus Eaters
Since the birth of this nation, our leaders have recognized the value of a civil service merit system to the orderly administration of our country's day-to-day affairs. During his Presidency, George Washington set high standards for federal government service based upon the individual's qualifications for the position sought. This concept was eroded in subsequent administrations by preference for veterans, geographical distribution of appointments, and reliance on Congressional recommendations. Culminating in Andrew Jackson's administration the use of patronage and the building of political machines led to low morale, indifferent service and payment for jobs." The excesses of the "spoils" system eventually led to public demand for reform. In 1851, Congress passed a resolution requesting Cabinet officers to draw up a plan for the classification of their subordinates, to equalize salaries and to provide for "'a fair and impartial examination of the qualifications of clerks and for promoting them from one grade to another'. Subsequently, in 1853, Congress passed legislation which carried out those recommendations. At the state and local levels, the evils of the "spoils" system also led to pressure for reform. In 1877, New York be- came the first state to form a Civil Service Reform Association. That system served as a model for reform associations in other states, all dedicated to the regulation and improvement of civil service. Following the movement initiated by the federal and state governments, municipalities and counties began to incorporate civil service systems into their local governments. - Rea T Markin (1974)
Regional Bears, March 2021
Downwardly Mobile Renaissance Man – Seeing The Elephant
The duo of David Shapiro and Ian McColm started playing together in 2010 as Nagual. In 2017 Stefan Christensen began to collaborate with them, which eventually led to Christensen joining the group. Shortly after the trio decided to change the name to Center. Since then they have released tapes on Sound Holes and Carbon Records, and have an upcoming LP on bruit direct disques. The group began by strictly playing electric guitars, with feedback as the main frame to work with. However they have grown to use a wide variety of instrumentations, both electric and acoustic. Shapiro plays solo as Alexander, in Headroom and accompanies Kath Bloom. McColm is more typically found playing drums; he plays in Heart Of The Ghost, has many collaborative projects, as well as solo. Christensen plays solo, as well as in Headroom and runs C/Site Recordings.
Regional Bears, March 2021
Center – Contour Process
Keijo plays Woodie Guthrie's songs. Recorded between April 2019 and October 2020. All instruments, effects & voice by Keijo.
Ikusiuus Records, March 2021
Edition of 60 copies
Keijo – Keijo sings WOODY's songs
New live recordings, oriented with only two instruments, viola and frame drums. The album was recorded during a period of many live sessions between 2019 and 2020 with just a Rode nt4 stereo microphone and one of the very first Sony mz md. The sessions were amplified.
Maninkari is an instrumental duet combining compositionand improvisation with traditional and contemporary instruments : viola, cymbalum, frame drums, santoor, synthesizers and drums, since 2006.
Frédéric Charlot - Viola Olivier Charlot - Frame drums
Ikusiuus Records, March 2021
Edition of 80
Maninkari – Fahon
Ikuisuus presents Une Rose by Beyt Al Tapes. Layers of dark lightness. Airy sounds combined with a de-constructed organic weaving. A vanishing point in constant extension.
Cassette, March 2021 Edition of 75 copies
Beyt Al Tapes – Une Rose
Belgium's Knotwilg Records delivers a heavy duty dose of DIY and out there bangers in celebration of live events they ran between 2016-2019, showcasing frequent collaborators and close friends. Snippets of live sets from favourite Belgian venues such as Les Atellier Claus and Brasserie Atlas plus some exclusives that weren't recorded.
Mastered by Christophe Albertijn Compiled by DJ Klakke
Soirée Knotwilg I at Les Ateliers Claus 14/05/2016: Tracks 14, 16 & 17 are all exclusive since recordings got lost Soiréé Knotwilg II at Les Ateliers Claus 02/06/2017: tracks 6, 8, 9 and 15 live from that night Knotwilg at Donk: 06/07/2018: Track 3 live that night Knotwilg Festival 2019 at Brasserie Atlas: 13/04/2019: livetracks 2, 7, 10, 11,12, 13 and 18 Réveil Kortemark: 01/11/2019: no recordings were made: 1 & 4 are exclusive tracks K-Group recording (track 5) at Les Ateliers Claus on 9/11/2019 during a short weekend playing Claus and Grambacht.
Released April 4 2020, Knotwilg Records
Knotwilg Records – Fit For Queens Compilation
Nika Son presents a radiophonic submersion into oceanic rasp and heave, meshes of synth tones, and displaced voices that intone a dismembered, claustrophobic sea story. Released as an edition of 50 pro-dubbed cassettes.
Surfacing underneath you sea asu lapis
Trying to imagine being underneath a liquid that we call water while clutching to a metal ledge of a big concrete building with air in my lungs.Sensing water in your ears and eyes. Being split by water. Thoughts astray.Algaic groaning gulping machines touching the liquid surface. Outer voices uttering in displaced languages. Who are you I am? Sinking. Waves floating over and under. Listening to antartic krill that sway to and fro. Emerging. Walking over oceanic noise, turning the page.Your ears on surfaces.
Psykick Dancehall Recordings, 2017
Nika Son – Surfacing underneath
SDF - less a band more a corrupt construction company with synthesisers, hammering against the ruins of the night. SDF is a pulsating orb vibrating in oceanic hyper space.
Alana is the third release in the Wild Pop Series
---Mastering by Joe at Subsequent
Artwork by Cecelia Serafini
Psykick Dancehall Recordings, 2017
SDF – Alana
Human Heads are an electro-pop sprechgesang duo from Glasgow. Human Heads deliver a whopping sensory twofer; a vial of fragrant oil for your proboscis and six doses of throbbing-synth-extrusions and poetry-speak-sung for your inky flappers. On listening, it’s the overall heaviness what mugs you first – narrative and synthetic. ‘You shouldn’t have met’ is a slice of crafty street recording, school kids on the blab rapping on death, that’s soon dive-bombing deeply like Sabbath picked up a couple of Korg SB-100’s rather than them dirty guitars. As the tracks unspool we follow stories (possibly reflections, possibly prophecies) on the full-body foxtrot and crucifixion. Pixelated piano is preceded by the delighted squeaking of a small child, a train’s rhythmic rattle and Scott Joplin’s entertaining hands. R.D. Laing is in a nostalgic mood so things end with the sort of dry-rot clunk Kanye would have chipped a tooth for on his self-titled Yeezus opus.
Ben Ellul-KnightHannah Ellul
They reverberate,they also absorb dregsthat came from our teenage diversionsCold and stony, the rubbery shadowBrought to lifeWith a whiff of a dank man-made holeAnd now a brightnessFeels higher and more determinedFuller now, gathering to block out extraneous letters, sightsMy own fingers trawling and trailinglips overstretchedRid the flavours from the mouthA narrative fading - goodMetallic churning // reaching out,receding again and overlaid with a negative etchingTryingA breathing cogNot circular but returning// familiar but not minea sweet spot between nape, pit, popper, pear //TryingA breathing cogNot circular but returningDo it with your eyes closedForA sweet spot between now, then, the rear of a dreamTrapped Doppler,Metal is cooling, becomes corkyLips overstretched, adjective snatchedSucked and blownTo reach equilibrium //Thinly domestic nowA drawn out teeter I can no longer perceiveBut it came from somewhere massive and hardA slow shock// A pattern cut from a metal sheetand now it’s on the movelays itself down over spoken undulationsuntil they form a new pattern, called a beat //received, pressing, driving,old and flammablesneaked up from within a refrigerated boxanother slow, pleasant shockThickly domestic now as we sinkSurvey the scatterManipulate the jointTiny and early, the echo ate its tailRebecca Wilcox
Fractal Meat Cuts, 2021
human heads – in the afternoon
The Rapture of Cellular Accretion is a tape, fiction text and artwork completed during the convalescence of lockdown by artist and musician, Lucy Duncombe. Originally conceieved for an online presentation for Market Gallery, Glasgow.
--- The work concerns the back and forth sharing of music within the alternate sociality of digital space; lives held within YouTube playlists and cultivated within the ample hamlet of thumbnails, comments, and auto suggestion, with a sense of a ‘we’ stuck recursively in loops of musical fable. With melodic references to songs hosted within the imagined YouTube playlist of The Rapture or comments left on its videos, its musical world is contained and atomic. Almost all of the pieces use the ensemble of the voice for its instrumentation; stretched, pitch shifted, cut and repeated to create a ‘texture of one’, with Ailie Ormston providing non-vocal instrumentation on several of the tracks.
Music: Lucy Duncombe Text: Lucy Duncombe Instrumentation on Several Tracks: Ailie Ormston Roving Vocal Bleep: Feronia Wennbourg Artwork: Al White Mastered by William Aikman
This release comes with Tape And Risograph Print
Lucy Duncombe – THE RAPTURE OF CELLULAR ACCRETION
"Born in 1945, Guo Yongzhang has performed zhuizi - a traditional Chinese style of narrative singing - for half a century. An artform whose history spans over a century, zhuizi originated in Henan province. Its main musical instruments are the zhuihu, a two-stringed bowed lute, and the zhuibang, a wooden percussion played with foot tapping.
Almost completely blind, Guo Yongzhang is known for his peculiar, resounding yet smooth vocal style. He sings with deep feelings and great verve. Lyrics deal with both the hardships and good values of life while always maintaining a sense of humour. Despite being long regarded as a folk master, Guo has continued to play tirelessly among ordinary people, often travelling from village to village and performing for a whole day at a time. As he nears the end of his life, Guo regrets that nowadays, few people wish to learn the art ofzhuizi. He worries that this precious art form may soon be lost.
This release, titled after one of Guo Yongzhang’s most well-known songs, Lao Lai Nan, commemorates his performance at the 5th Tomorrow Festival. Guo co-headlined the last day of the festival with French prog-rock act Gong on May 20, 2018. His performance was recorded live and is due to be released on both CD and LP by the Old Heaven label in November 2019.
Guo Yongzhang / Zhuihu, Zhuibang, Vocals
Recorded in the late-1980s, Released in 2018
Guo Yongzhang – Lao Lai Nan (Old Man’s Blues)
Saxophonist, poet and puppeteer, Ted Milton, brought his band Blurt to the 4th Tomorrow Festival with an unusual musical scene. He has recited 5 of his poems before the performance. The full set of 19 tracks, including poetry readings, are included exclusively in the special edition of the digital album.
Ted Milton / 主唱 vocals, 萨克斯 saxophoneSteve Eagles / 吉他 guitarDavid Aylward / 鼓 drums
录音 Recording: 曾君 Zeng Jun / 罗绿野 Luo Lvye母带处理 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei摄影 Photography: 陈悦湘 Chan / 许益铭 Bug @ Dafa设计 Design : 尹思卜 Midori Yin
BLURT – Cut it! Live!
Takashi Masubuchi (acoustic guitar) and Staytone (modular synthesizer) are musicians based in Tokyo. Both of them are new generation involvers in post onkyo Japanese improvisation music scene, active in Ftarri, Otooto, Permian and other small, quiet, warm spaces. Takashi Masubuchi is also one of Permian’s runner, which is specially focus on free improvisation music. This duo has deep collaboration for many years. 2527 are some selections from their 2018 recordings in Permian.
Takashi Masubuchi - Acoustic Guitar
Staytone - Synthesiser
Recorded by Keita Asahi in May 2018 at Permian, Tokyo Edit and mastered by Keita Asahi
Released: Zoomin' Night
Released: March 23, 2020
Takashi Masubuchi and Straytone – 2527
Bruno Duplant is a self-taught composer, phonographer, bassist, and altogether 21st century renaissance man from France. Like many others of his generation, he is a relentless audial explorer and documentarian, and over just the past few years has more releases in more genres and on more labels than one can reasonably keep track of. (This impulse to document may bleed over from the other side of his life as a library sciences teacher.) Unlike some of his peers, however, his releases are not just the product of obsessively recording live sessions. Instead, Duplant seems to have a more concerted program. Per his own testimony, even his field recording releases are thoughtfully composed. And, his electro-acoustic and pure acoustic compositions are meticulous and delicate soundscapes, feedback and frayed edges included.
Composed by Bruno Duplant Recorded at "la salle de jeu" Waziers, France. Bruno Duplant: percussion and/with electronics
Released: Zoomin' Night
Released July 1, 2019
Photo by Bruno Duplant Art design by Liu Lu
Bruno Duplant – Au Hasard des Cercles
Jikken Weekend, also known as Experimental Music Concert, is a small artist/composer group based in Tokyo. They mainly hold performance events at l-e, a small venue/art space in Osaka. Two CD compilations of their works have been released on the Taku Sugimoto’s label Slub Music, Experimental Music Concert (2015) and Experimental Music Concert Vol.2 (2017). Early on, many of the members of Jikken Weekend were participants of Sugimoto’s composition workshops. Aside from that, the members are almost unknown, even to Tokyo’s experimental music scene. In recent years, some of the original members have left, and some new names have joined in. It is said that some of their latest compositions are not suited to audio recording. So, this cassette can be seen as a chance to check in on Jikken Weekend’s recent work. Hirohiko Yamada, Toshihisa Hirano, Hisayo Kobayashi and Mamoru Nakajo are original members. Similar to their previous releases, each of them brings their own compositions in for recording, while they also contribute as musicians in other pieces. Besides these four, other musicians in the recording sessions include other members from Jikken Weekend, l-e buddies, and even some Korean mystery guys including Ryu Hankil and lo wie. One piece on this cassette was recorded in Seoul.
A1, B1, and B2: Recorded at l-e, Tokyo, December 21, 2019 A2: Recorded at namsan/flat, Seoul, October 13, 2018 A1 combs Composed by Hirohiko Yamada Mamoru Nakajo, Reiko Shioda and Hirohiko Yamada: Melodion A2 Don’t Look Away Composed by Toshihisa Hirano Ryu Hankil, lo wie, Yijinkee, Inkyung Kim, Takuya Sakamoto, Mamoru Nakajo, Reiko Shioda and Guests: Humming Toshihisa Hirano: Conductor B1 from the faucet Composed by Hisayo Kobayashi Hisayo Kobayashi: Water jug, LED light B2 DJ (Digest Jockey) Reiko Shioda, Hirohiko Yamada, lo wie and Ryu Hankil: Speaking about 2019 news Toshihisa Hirano, Hisayo Kobayashi and Takuya Sakamoto: Reading about 2019 topics Mamoru Nakajo: Conductor
Released: Zoomin' Night
Released: April 29, 2020 Recorded by Hirohiko Yamada and Toshihisa Hirano Mastered by Toshihisa Hirano
Hirohiko Yamada, Toshihisa Hirano, Hisayo Kobayashi, Mamoru Nakajo – 山田寛彦, 平野敏久, 小林寿代, 中条護 Jikken Weekend
Six solo recordings from Aoi Tagami, Li Song and Xiang, three young chinese artists supported and mentored by Zhu Wenbo of Zoomin' Nights to highlight the thriving young experimental scene within China
--- Li Song, a native of Xi'an, now living in London, uses his laptop to make improvised music and was active in Beijing's experimental/improvised music scene from 2014-2018.
Tokyo-based Aoi Tagami explores songs through the use of her own voice and words. Since 2014 she has been giving performances in diverse locations, from outdoor settings to theatre spaces.
Xiang, sound worker, working with field recordings, electronics, improvisation/composition of objects/body, performance based on aural exploration. She lives in Chengdu.
Released: Zoomin' Night
Released: October 2020
Mastered by Xiang Designed by Liu Lu
Aoi Tagami, Li Song, Xiang – Voices from Green Pines
XXTREMELY RARE, THINK KWIK!!
"In October 2018, the manager of ESP-Disk', Steve Holtje was invited by the 8th OCT-LOFT Jazz Festival to give a lecture titled 55 Years of Nurturing Avant-Garde and Outsider Music: ESP- DISK's Perpetual Revolution, in Shenzhen, China.
During this event, Tu Fei, the curator of the festival, as well as the co-owner of Old Heaven Books, reached an agreement with Steve on further co-operations.
For over half a century, ESP-DISK' has been publishing a massive amount of great records, among them are many free jazz masterpieces. And with great honor, the Old Heaven Books is authorized to produce and release this cassette boxset including 5 selected ESP DISK' classics, as a tribute to the label concept “The artists alone decide what you will hear on their ESP-Disk.”'
This cassette boxset include 5 ESP-DISK releases:
Albert Ayler- Spirits RejoiceRecorded Sept. 23, 1965 at Judson Hall, New York CityMarion Brown Quartet - Marion Brown QuartetRecorded in New York City in November 1965Sonny Simmons - Staying on the WatchRecorded in New York City on August 30, 1966Ronnie Boykins - The Will Come, Is Now© & ℗ 2009 ESP-Disk' Ltd./Syndicore Music (BMI)Sun Ra - Concert for the Comet KohoutekRecorded live at Town Hall, New York City, December 22, 1973.
Limited Edition to 300 CopiesReleased by ESP-DISK' & Old Heaven Books
ESP- DISK & OLD HEAVEN – ESP-DISK' Cassette Boxset