Vinyl


Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet (CREP46) and Johnny Kafta Anti-Vegetarian Orchestra (CREP22), Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of insubordination. 14 years after his first (and only) solo album "Brt Vrt Zrt Krt" (Al Maslakh, 2005) Mazen returns with a series of subtle compositions of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer. Whilst Vol. 2.1 showcases his (almost) (un)familiar arsenal of squawks, cackles, howls and squeals, Vol.2.2 goes deep into the nether regions of waltzing drones and bell tweaks so deep that would make most cetaceans loose their concentration. The notion of being transported to a luring mutant underwater alien community is still present on these long(er) trips with the added meditative pieces being occasionally pierced by noise creepers, nothing is what you want or expect and that’s the way it should be. If Vol. 2.1 is the classic follow up LP, this one is the beast from the deep, it comes surging and screeching from a deep oceanic sink hole, only to hypnotize you with perverted dance moves before diving back into the sinking, wettest and darkest cave in the world. Vol. 2.2 is a summons album; it shatters any bar there was with its intentional use of everything Vol. 2.1 was denied. It grabs you by wherever available way and it only releases you when you’re ready to listen to it again. Listen to both albums back to back, in no particular order and you’ll know that there’s nothing you can do but come back to it like a doped up seal stranded in a phantom island – appearing and disappearing as the music dictates it to.

Mazen Kerbaj – Solo Trumpet Vol. 2.2 Cuts, Overdubs, Use of Electronics

A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel, and artwork by Matt Howarth! Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza. ** Edition of 300 with printed inner sleeve and insert containing a transcript of side A and liner notes. ** Shortly before Conrad Schnitzler's death in 2011, he handed Wolfgang Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into "solos" and "mixes", where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled "CONtext", where Schnitzler gives an account of his musical philosophy – in a performative lecture with a lot of humour. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece. Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting 8-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972. The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a "German synthethist" and member of the premiere insect-rock group, the Bulldaggers. "Any combination of sounds is just as valid as any other. Any means for the production of a group of sounds is just as valid as any other means. [...] Music is not what reaches our ear as a sound wave. It's not the sounds that are music, but what we've made out of them and what has been heard from them." - Conrad Schnitzler

Conrad Schnitzler, Wolfgang Seidel – Music is not language. Neither is it painting. Just music.

Label description: We’ve been great fans of ‘The Duchess of Oysterville’, the first outing from the duo of Chris Forsyth & Nate Wooley on cd some years ago on Creative Sources (with a follow-up later on Chocolate Monk), and had been looking for an opportunity to work with them if possible. Their duo is one of those cases that reveal different and unexpected qualities from the participants, and points to a third mind of shorts at play, a meeting that seems to open up the two towards an underexplored territory. With a palette consisting of guitar and trumpet, they make together music that often focuses on an ugly/beautiful scorched earth territory of hissing subtlety. ‘Third’ was recorded live in concert on March 16, 2013 in Philadelphia and mastered by Bhob Rainey. Chris Forsyth is a lauded guitarist and composer whose work often assimilates art-rock textures with vernacular American influences. Long active in underground circles, he’s recently released a string of acclaimed records of widescreen guitar rock, including 2014’s Intensity Ghost (No Quarter) that have brought his music to the attention of a wider audience. Forsyth first became active in the experimental scene in the 2000s as a founding member of the unclassifiable experimentalists Peeesseye (w/ Fritz Welch & Jaime Fennelly). He’s also collaborated with Tetuzi Akiyama, Nate Wooley, Shawn Hansen, Koen Holtkamp, Chris Heenan, and choreographer Miguel Gutierrez. He is a recipient of a 2011 Pew Fellowship in the Arts and resides in Philadelphia. New York based trumpeter Nate Wooley has performed on over 100 recordings. Increasingly acknowledged internationally, Wooley’s specific style is part of a burgeoning revolution in experimental trumpet technique with the likes of improvisers Evan Parker, John Zorn, Anthony Braxton, and Thurston Moore. His own compositions expand conceptions of linguistic based embouchure manipulation and utilize the trumpet to control amplified feedback. Design and photography by Thalia Raftopoulou

Chris Forsyth & Nate Wooley – Third

GENESIS : Jean-Luc Guionnet and Claire Bergerault have been working as an organ/voice duo in various churches since 2007. The challenge being, each time, first of all to adapt to the configuration of the building and the organ; and then to stretch their music on the breach of this singularity. AIRS TROUVÉS: The melodic forms, when they arrive, Jean-Luc Guionnet and Claire Bergerault approach them in the manner of a found air as one speaks of a found object. At the crossroads of attention, to the detail of the voice and what is unique about this organ — such an unusual register, such an impossible chord, such a disagreement on such a key with such an orchestration. As if the timbre, when you listen to it as closely as possible, induces a set of lines that would have to be drawn. These tunes are ultimately found through experimentation and it is the structure taken by the search that profiles the result. "Previously our music was inhabited by abstraction, by going towards these found tunes, we opened up to a concreteness that we might want to touch with our fingers: rather simple forms, which neither we want nor we don't want, and that once in hand, we work with the air of a slight relentlessness ... a relentlessness that goes with big holes and long full ones, suspense in both, then dives inside long turnings, bringing us closer to traditions very little known to us, or half-dreamt of, that usually keep close to them the weathered old people and the noise of the work of dancing clogs.  

Jean-Luc Guionnet & Claire Bergerault – AIRS TROUVES