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Anla Courtis: guitar, water, ebow S. Glass: voice, field recordings, tapes, objects, violin
--- Recorded, mixed, and edited at Yaguareté Studios, Buenos Aires and at No Spray 205, San Francisco
Anla Courtis & S. Glass – Other Secretive Vehicles
"Growing up means your mental models of the world are more likely to match observable results in the 'real world'. Or to say it differently: Growing up means, your plants are not dying anymore. I am not sure we have grown up quite yet, but maybe embarking on a 25 minute free form improvisation, with the tape rolling, relies just as much on what you know, as trusting the things you do not know yet. Just as much being in touch with the grown-up as the child in you and the partner that joins you on that journey." Daniel Stolle and Erno Taipale met in 2017 at an exhibition of old houses in Hämeenkyrö, Finland. Having similar thoughts about making music they decided to play together. Eventually it happened in autumn of 2020. Two sessions at Daniel's working room produced these improvisations. Opal Satellite's music is mostly calm and sparse, at times creepy, pastoral, kosmisch. It could work as a suitable soundtrack for a breezy summer night when the mist floats upon the moonlit lake surface. Or maybe it conjures your very own images, based on the observable world of the grown up or the free, imaginery of the child.
Opal Satellite – I
Co-released with Unread Records (USA). #272
--- Recorded mostly with Korg Minilogue XD in September-October 2020. S
ome additions & mixing & cassette mastering November 2020 - February 2021, Digital version mastering July 2021. Music & artwork by Jani Hirvonen. inspiration: Quantum physics, universe, cosmic vibrations / dimensions / frequencies, spirituality, the unknown...
UTON – Awakened Hyperspace
The Anaksimandros: Janne Laurila, Jan Anderzen, Markus Mäki, Arttu Partinen, Kevin Regan.
Limited edition of 80 copies * Including a hidden bonus track, which wasn't on the original cassette release. Originally released on Huutomerkki in 2000. --- Sleeve artwork and layout by Johannes Schebler
The Anaksimandros – Beyond the Valley of Apeiron
T.D. is the personal sound project of Thomas DeAngelo, based in Philadelphia, USA. Sound collages, field recordings, improvisation, noise.
"Melk Extracts" track feat Jim Strong, Allen Mozek & Stew Skinner.
Recorded Between 2016-19, All recordings Thomas DeAngelo Mastered by Moras Marios
released May 15, 2021
T.D. – Standing Water
The first cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The first in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song.'It should be a noon of 1997, when I was in the 2nd grade of middle school, I saw the music video of the Beatles “I Want to Hold Your Hand”on MTV channel. A live performance, black and white. It was the first “thriller” The Beatles brought to me. The second “thriller” was in 1999, when I was in grade one of high school. The day before, I bought the so-called “white album” in a cracked cassette shop. That day I went to attend a kind of “little campus writer seminar” with my schoolmaster and a senior. On my way back home by bike, I began to listen to the double-cassettes. After this “thriller”, I talked with the senior who also loves rock music about grouping a band. But neither of us had learnt or even had any instrument. We just talked about it and thought we were in a band for quite a long time. In 2001, I was a restudy student in a boarding high school. On the Christmas Eve, I listened to John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” lying in the bed in my dorm, which was rebuilt from a shower room. I cried out. It should be count as a “thriller” brought by the Beatles, the third one. After that, it never happened again.' MAI mai April, 2016
卖卖 MAI MAI uses: Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones
Released: Zoomin' Night
Released June 1, 2016
卖卖 MAI MAI – MAI mai plays the Beatles vol.1
Another Beatles cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The second in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song
卖卖 MAI MAI plays:
Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones
Released: Zoomin' Night
Released: May 4, 2018 Recorded in Shanghai, spring 2018 Art work by Liu Lu
Limited to 100 copies
卖卖 MAI MAI – MAI mai plays the Beatles vol. 2
Jim Strong is a visual artist, painter, performer & experimental instrument builder. Until now his music is released on respectful labels like Vitrine and Crisis Of Taste. He is the one half of Melkings, a collaborative group with T.D. & founder of the experimental label Cor Ardens.
im Strong’s music is characterised by a structural complexity, combining amorphous instrumentation and spoken words. His handcrafted instruments, that looks more like artifacts or sculptures, reproduce a big variety of cracking noises, broken electronics & drone sound effects. The outcome is a poetic mix, consist of free improvisation, crank-based mechanisms and sound poetry. Voluntary Letters are probably his most exciting work by Jim until now. This release includes eleven tracks, who successively structure an interior mystery play between paraphernalia & human soul
More Mars, 2021
JIM STRONG – Voluntary Letters
Alexandra Spence and MP Hopkins are sound makers living and working on Gadigal land in Sydney, Australia. Using foil, flutes, tuning forks, tones, tapes, tiny bananas, stones, mouths + more, their work explores the spatial and sculptural elements of a practice in experimental sound. Their debut release, The Divine For Me Is Whatever Is Real, was recorded on the cusp of Spring one evening in 2020, at Tempe Jets; a disused sports club hall in Sydney. During this session, a stationary pair of room microphones were encircled by tables of objects, speakers, instruments, and actions. Additionally, Spence and Hopkins shared a pair of in-ear binaural microphones that they roamed the room with, taking turns to inspect up close, and from afar, each other’s sonic activity. The result is a document that moves through states of amorphous sonic density, rattle and clunk, magnetic drift, and instrumental sounds both trill and tentative. The album’s title is borrowed from Clarice Lispector’s The Passion According to G.H.
Alexandra Spence & MP Hopkins – The Divine For Me Is Whatever Is Real
Italian sound artist Ezio Piermattei is an active musician since 2010, releasing works under different aliases like Autopugno, Hum Of Gnats, Poisucevamachenille. In 2014 he started releasing music under his real name, through labels like Chocolate Monk, My Dance The Skull, Steep Gloss and through his own Tutore Burlato label. His "From Afar It Looks Like An Oriflamme" captures some of the most delicate compositions by him. Detailed narratives are mixed with a big variety of field recordings, object and instrument sounds, as well as tapes. Ezio Piermattei delivers us two long compositions, with a cinematic point of view, humour and sound detail.
--- "From Afar It Looks Like An Oriflamme" released on 80 numbered cassettes.
Artwork by Agata Mastered by Moras Marios.
Ezio Piermattei – From Afar It Looks Like An Oriflamme
Brandstifter: field recordings, voice mails, sound poetry snippets, German and English poems, streams of consciousness and ad hoc philosophy, Casio tunes and loops all from dictaphone Diurnal Burdens: homemade twin walkman tape looper, dictaphone, mobile phone field recordings, multi track loop pedal, modular synth, evil moisture chopper/masher, effects pedals
Collages by Ross Scott-Buccleuch & Brandstifter Master by Moras Marios
Released More Mars, 2021
Brandstifter & Diurnal Burdens – Manchmal Auch Nicht
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
Issued somewhere between Mica Levi’s emergence in 2008, and their recent gush of solo and band releases with Curl and Good Sad Happy Bad, Mica wrote and recorded ‘Feeling Romantic Feeling Tropical Feeling Ill’ around about the time they were receiving award-nominations and resounding acclaim for their soundtrack to Jonathan Glazer film, ‘Under The Skin.’ Naturally it shares some of that OST’s tones and moods, but the results are far more febrile, lush rather than dark and tense, stitching together a tapestry like mixtape-cum-production showreel of curdled chamber pieces, shrugged hip hop, ambient flights of fancy and gorgeous snatches of strings recalling the intervals of Carl Craig and Derrick May’s seminal ‘Relics’ set going into what sound like early sketches for what would become Tirzah’s ‘Devotion’ album a few years later.
Replete with new, minimalist artwork symbolic of the album’s enigmatic nature, the record’s second wind is arguably ideally timed for the world’s current state of torpor and tentative anticipation, with 60 minutes of figurative, quietly perplexing, evocative melodies that work by inference as opposed to ever beating you around the head with a message. It’s peppered with some exquisite, often unexpected moments that arrive and recede into its matrix with uncanny logic that perhaps comes as close as you’ll get to living inside Mica’s iridescent, endlessly intriguing mind.
MICACHU – Feeling Romantic Feeling Tropical Feeling Ill
Truly spannered churned out gunk from the mind of Duncan Harrison.
Could possibly be the best Duncan Harrison release to come out in the last 12 months
Duncan Harrison – fires.serif.
Yong Yong tap into some “Torraye Braggs shit.” Downtempo signals, ghetto tech jibber, skull caps under knit beanies, hacky sack. A kind of pan-ethnic cooking analogy comes to mind: a plume of brown spices, melodies like foreign legumes. Fire up Dr. Sammy Sample and reappropriate whatever, basically. Smoothness is definitely not a priority – don’t save this for your BeatsByDre. I use cellphone speakers and let the bass snap like a baby carrot. B-side trades in ADD groove splicing for an extended trip. Less cut-and-paste here; more long-form four the floor. Things melting into other things. For the dancefloor in your day spa.
Goaty Tapes, 2015
Yong Yong – Meet Lord Prince 'I'nfinito
In A Bog is a series of electro-ambient vignettes strung together like faded raver beads. Wobbling synths, plastic hand drums, and garbled signals slide in an out of focus. Cockeyed rhythms swirl into mellow atmospherics. Doofy samples bubble up from the bottom of the Internet. Beat Detectives hijack body music, cut it up, slow it down, and put it back together like Frankenstein with arms for legs.
Goaty Tapes, 2019
Beat Detectives – In a Bog
Heavyweight Tag-Team split tape from Outclub and DT Dream. Embodying the adrenaline of challenging for the Princess of Princess Title and the comedown of losing. Zoned out beats drowning with tears and exhaustion. Gltichy Idol music through the ambience of a Joshi locker-room.
First relase from Manchester label Profound Mystery
---Released May, 2021
outclub x DT Dream – East-West Gacha Master
The third Beatle's cover and acoustic guitar feedback album by Shanghai guitarist MAI mai.
Final episode of Shanghai based guitarist MAI mai's Beatles song book series. Recorded in Shanghai, autumn 2020. Compared to Vol. 1 and Vol. 2, in this recording session MAI mai used different instruments and approaches to making this album.
MAI mai used:Gibson l-48 acoustic guitar AER compact 60 amp Shure sm-57 mic Hewlett-Packard 3312a Function Generator Bruel & Kjaer Type 2113 Audio Frequency Spectrometer
Released: Zoomin' Night
Released January 28, 2021
Art design by: Liu Lu
卖卖 MAI MAI – MAI mai plays the Beatles Vol. 3