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Ten pieces of LOUD POETRY CHANSON with voice and piano based on Michael Bakunin’s reaction on the circumstance of 22-years old Russian student Sergei G. Netschajev and his actions.„In autumn 1869 Netschajev returned to Moscow with the already printed document of Bakunin’s „Words to the Youth - Principles of the Revolution“ and with a kind of identity card from the „International”, Russian section. This ID gave him „Full powers...“ Netchajev began with great skill and tireless zeal, but also with cunning and ruthlessness, to organise his „Groups of Five“, the extent of which was difficult to assess because of their secrecy.“An acoustic and poetic inquiry into authority and power in human relationships.„VOLLMACHT“ was recorded from March-May 2020 at Kunstverein Röderhof. The four page cover is using the prologue of Michael Bakunin’s book „Words to the Youth - Principles of the Revolution“.Michael Barthel, born 1977, growing up in East-Berlin, is living in Leipzig and works with language in writing, sound and visual arts.
Michael Barthel – Vollmacht
Originally recorded analog between June 1983 and May 1984 in West-Berlin by Graf Haufen. First released on cassette in June 1984 (Graf Haufen Tapes 31) and simultaneously by various other labels around the world.The original master tape was carefully transferred to digital and painstalkingly remastered in 2017.
released October 2, 2020Composed, performed, recorded and mixed by Graf Haufen.Transferred to Digital from the original master tape by Thomas Pargmann.Remastered by Lily Vice at Sacred Lust Studios, Japan in 2017.
FâLX çèrêbRi – Rite 64
Alec Livaditis is an improvising cellist, currently residing in Athens (Greece), where he regularly performs in solo and duo settings. Using the cello as a sound object, his music is concerned with space, pattern, timbre, and texture.
He first appeared on the scene with Clear and Cloud, an LP released on Kye Records
This is his second solo release on the formidable Regional Bears.
Alec Livaditis – Not Even A Hint Of Darkness
Where spring LP Omelette Of Disease was an orgy in painfully hard driven feedback, and the early summer cassette Overdrive focused on rumbling low-end, Benzedrine Bonanza brings a live all-at-once approach. Not unlike Schakalens Bror's earliest cassette excretions, yet now more refined and with the energy of his later live shows successfully transferred to tape. Fully fledged free form guitar noise in a league of its own.
released By Regional Bears.
August 22, 2018
Schakalens Bror – Benzedrine Bonanza
Everything in FPBJPC’s oeuvre requires you to tilt your head to adjust where the glare obscures the picture. Or there’s no glare, but we’re accustomed to thinking there ought to be oneFPBJPC invites us to relieve ourselves of that cruelty and, thereby, invites us back into love. Perfect music. Derek Baron, Sept. 2020
FPBJPC – Concert Performance - March 8, 2017
The clouds have rolled away leaving a barren landscape, but as what happens, the crocus and other flowers burst from the ground. With "Het Vlier Een Hommels Dauwe", LINUS VANDEWOLKEN looks up to once again see colors and light. The feeling of loss is still present but we hear the transformation of his days in Niemandaal to leafy green. On this recording, the third to be released on cassette by the Brussels based Herberg Rustiek, Linus shares other creations, shakers, and flutes which have not been heard since "Hommel Op Aarde" have come back, perhaps signifying the renaissance of his voice, though not present on this collection, we can hear that it will once again sing.Linus Vandewolken plays the hommel, a traditional stringed instrument from Flanders.
released October 20, 2017
Linus Vandewolken – Het vlier, een hommels Dauwe
This studio recording of Jason Kahn (voice) and Ilia Belorukov (modular synthesizer) is tense and taut, as dry, crumbling sonic swathes manifest both as machine and human, facilitating an almost ceremonial liberation. Kahn has historically been known for electronic sounds exhibiting stasis and abrasive, enduring minimalism; as of late his work has been primarily concerned with his own unaltered voice. Belorukov’s work exists within the realm of improvised noise and electroacoustics, as he prioritizes a wide range of collaborations. Kahn's voice provides a stark contrast to Belorukov's jagged synthesis, like examining oneself close-up in a mirror. Here, these prolific musicians share a unique, intimate intensity through drastically different approaches.
Ilia Belorukov/Jason Kahn – Studio Album
Notice Recordings’ Chicago origins were heavily galvanized by regularly seeing sets by cellist Fred Lonberg-Holm and multi-instrumental improviser Zoots Houston. Both have since separately relocated to Kingston, NY, where they continue to engage with the kinds of musical exchanges exemplified here. This set, recorded live at Chicago’s Elastic Arts, finds them performing with percussionist Ben Bennett. Bennett, a musician and performance artist, is a notable figure in the current and vibrant free improv and jazz scene in NYC; recent collaborations include Michael Foster and Jack Wright, among others. All three players metaphorically deconstruct their instruments while scattering pockets of agitated hot air on the performance floor, augmented with pedals, radioesque static sweeps, tightly propelled breaths, and extended techniques. This is dry, heavily structural, bristling stuff, with periodic digressions into melody and a strong control of focused and at times uncomfortably magnified timbres. Much of the material is urgent and electronic, filling the space and remaining firmly gestural. These two sidelong sets display slices of time coming from strong voices within this niche of contemporary improvisation.
released November 18, 2019Ben Bennett - percussionZoots Houston - synthesizer, objectsFred Lonberg-Holm - celloRecorded live at Elastic Arts, Chicago by Dave Zuchowski, July 21, 2016Mastered by Branic Howard, Open Field, Portland, ORArtwork and layout by E. Lindorff-ElleryLetterpress printed by Small Fires Press, New Orleans
Ben Bennett/Zoots Houston/Fred Lonberg-Holm – Pinkie No
No input noise from Taiwan.
"Activist and underground young pioneer from Taipei scene, Xu uses chaotic frequency manipulation and carefully textured post-apocalyptic soundscape. "Formless" includes his full live performance recording at Cafe OTO in 2016.""Born in 1997, Xu set out performing and producing harsh noise under the alias “Berserk” since 2015. Initially, he focused on playing rough feedback from handmade instruments and synthesizers before carrying on specializes in no-input effects. Influenced by Japanoise, Death Metal, Hardcore Punk, his live performance is known for highly intense physical energy and massive volume. In 2017, he turned to combining various equipments including no-input mixer and shortwave radio to session with Free Improvisation musicians and folk narrator. His works as Chia-Chun Xu emphasize more on the interaction between sounds, space, and the others. Besides working on his projects, he also runs his music label “MKUltra Productions”, promoting Taiwanese and worldwide noise and experimental musicians."
Semi-transparent pro-cassette and tape case, insert printed with special satin paper, limited to 133 copies.Side A recorded at Senko Issha Records, TaipeiSibe B recorded live at Cafe Oto, London, 2016.5.27No-input Electronics / Vocal / Recording / Mixing / Mastering: 徐嘉駿 Chia-Chun XuArtwork (Film destroying): Jesse TsengLayout: 若潭 ruò tán
Beserk – Formless
Machine Bass - Series 1The first of the Machine Bass recording series, MB-S1-900/45 is a record in an edition of 1. 900 minutes long, it is split into 45 equal parts, 20 minutes each. Each of these cassette is one of those parts. The parts, without chronology, are identifiable only by the unique data rendered cover of each cassette
Tom Wheatley – Machine Bass Series 1
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
Leila Hassan and Francesco Cavaliere’s Sea Urchin blow new age kisses and woozy thought bubbles about Egyptian martial arts in a Arabic and Italian over crimped cubist computer dub and ambient styles
Tahtib is food for your mystical post-exotica musical landscape - hand drums played by computers fall with a squelch into the swamp, horses neigh at dub bassists, there’s water everywhere full of urchins and tarot cards and just when you think you need to breathe this record breathes for you. Tahtib’s future ambient glyphs are matched with the rapid-fire staccato "taks” of imaginary tahtib sticks (tahtib is an Upper Egyptian martial art which was enjoyed and practiced by Leila's grandfather Baba Aly). Leila Hassan sings seamlessly between Arabic and Italian (and possibly more) breathing pure soundart alchemy across Francesco Cavaliere’s library of sound effects and textures. You remember Sea Urchin? They added their signature aquatics to Osaka-native 7FO’s 7” for Bokeh back in 2017. The duo of Leila Hassan and Francesco Cavaliere debuted a totally unique expression of ‘library music as future music’ on a series of small run cassettes before their proper debut LP Yaqaza was released on legendary Belgian imprint Kraak (Pan American, Limpe Fuchs, Typhonian Highlife). This caught the ear of Bokeh designer svengali Patrick Savile, who adds his vision to the LP cover. Francesco has also released solo explorations on Hundebiss (Kelman Duran, Lil Ugly Mane) and Edições Cn (Dolphins Into The Future).
Sea Urchin are Leila Hassan and Francesco Cavaliere Recorded and mixed by Francesco Cavaliere Design by Patrick Savile
Bokeh Versions, 2019
Sea Urchin – Tahtib
Another mindblower from the camp of Regional Bears.
Vanessa Rossetto is an American composer, improviser and painter. She uses primarily chamber instrumentation, field recordings, electronics and a wide array of different objects exploring them through extended and traditional techniques and other methods of her own devising
Regional Bears, 2021
Vanessa Rossetto – Legends of American Theatre
My Bloody Sex Party is Liu, Shang, Li and Zhuang. Teenagers hailing from Linyi, Shandong province, they formed the band in the summer holidays of 2020, having just finished middle school together. They rehearsed in a disused office space which belonged to a real estate company, recording the album on mobile phone. At the end of the summer, the four classmates went on to different high schools and only meet up in the holidays to record My Bloody Sex Party music.
Liu: acoustic guitar, electric guitar, prepared guitar, voice, banjo, zheng, drill machine … Zhuang: electric guitar, violin, bowed guitar, acoustic guitar, erhu, veena … Shang: bass guitar, prepared bass guitar, sanxian … Li: drums, pipa, zhongruan, calculator
Released: Zoomin' Night
Released December 3, 2020
Mastered by Hiroyuki Ura Designed by Liu Lu
My Bloody Sex Party – My Bloody Sex Party vol.1
Originally produced to accompany their G.D.D.B. LP, this live tape was compiled by Golden Teacher from two live performances in February, 2013. Side A is Golden Teacher in classic dance floor motion; Side B documents a baffling reinterpretation of Ludwig van Beethoven via abstract electronics
Golden Teacher – Live Tape
Cut A Lonely Figure is the solo musical project of Blue Tapes and X-Ray Records founder David McNamee. The work predominantly involves the use of acoustic instruments such as pipe organ, harmonium, piano, glockenspiel, singing bowl etc. with some software processing. Previous releases have appeared on the labels Bloxham Tapes, Pan Y Rosas Discos, and Blue Tapes. Sugimoto Seascapes is the final instalment in a trilogy of releases - also featuring Rothko Horizons (Bloxham Tapes) and The Sea Is Half A Rothko That The Sky Crushes On (Blue Tapes) - that feature figurative depictions of sunrise, sunset and landscapes rendered in pipe organ, harmonium, piano, glockenspiel, rain sound and laptop.
Composed and performed by David McNamee Recorded by Stacey Harvey at St. Andrew's Church, Surbiton on 23 November 2019 Mixed and mastered by Angel Marcloid Artwork by Jumy-M
Released: Fractal Meat Cuts, 2020
Cut A Lonely Figure – Sugimoto Seascapes
The fifth installment of Commend See maps the movements of earthly and celestial beings by means of musical creation. Birth, planets and cosmic timing underscore Natal Uranus, il corpo sotto la sabbia / Birthdays, a collaborative offering and unfolding fable from Sea Urchin and Aki Goto’s Shirotento Orchestra.
Mastered by Jack Callahan. Artwork by Aki Goto. Design by Will Work For Good.
Sea Urchin and Aki Goto's Shirotento Orchestra – Natal Uranus, il corpo sotto la sabbia / Birthdays
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