"this is a self-released debut vinyl record made up of music for 4 and 6 steel-stringed guitars and one piece for piano. no vocals… but if you listen close… recorded in ohio, new mexico and montana between 2007-2009."time~lag
"When we first heard a preview of this album a few months back, everyone was floored. It came out of nowhere, the work of one Zachary Hay. The atmosphere was immediately striking. It spoke of empty rooms and secret lives, of the backroads of America, as eloquently as the first cd-r's fromIlyas Ahmedor Jandek’s acoustic recordings. Some of the music could be vaguely described as American Primitive but it was reflected through an odd, almost Corwood-style aesthetic. The solo piano piece is especially poignant, the perfectly simple technique of Vikki JackmanorChristina Carterput to the service of a lonely winter hymnal. Really, this is a magical record, with an atmosphere that would stop time. If you’re a fan of the real American Primitive, a tradition that includes Jandek,Charalambides, Matt Valentine, theTommy Roundtree/Arian Sample axisand Loren Connorsas much asJack RoseandJohn Fahey, then this is the perfect postcard from oblivion...A classic out of nowhere underground side."volcanic tongue
This was released two weeks ago onSchedios Records(a newish label founded and run by Clem Leek). Released on a 3" CD in an edition of 200, some of which appear to be available from Experimedia (link below). The music is taken from a short film by Matt Clark titled 'Passenger'.
"the three tracks on display here combine piano, strings and field recordings. A signature of the Broderick classical sound is his ability to take a minimalist approach to composing and through his blending of pre-recorded sounds or looping his own instruments he adds significant complexity to his music. So, for example, “Part 1” in essence a fairly simplistic, but nonetheless beautiful piano composition is supported by undertones of violin and given a distinctly gritty edge through the recorded sound of a train passing by. “Part 2” which seamlessly integrates from the first track, gives the strings a more prominent role and the resulting sound is an emotionally charged, melancholic one. “Part 3,” reverting to a greater piano focus again, is the most melodic of the three tracks yet Broderick again through his ambient intuition, ensure
there is not an overriding burden of romance to the composition." (Fluid Radio)
The last time we wrote aboutJulian Lynchwe ended up going on this weird mind journey about leathery old dudes playing shitty guitars in front of lakes. This time,Lynch turns down the brain-frying, sunburned solos and gets pastoral. He’s layering hypnotic guitar and soft drone loops in a way that makes us want to chill in a big sweater and watch a horse eat grass for like five hours at once. It’s like a mini-vacation in our headphones. * the fader
Claiming influences from Suicide, Throbbing Gristle, Einstürzende Neubautenor even Pierre Henry,Pan Sonicdon’t deal in classic electronica or digital sound processing. Instead, they extract sounds from their machines with caution, carefully placing them in each song.
To celebrate their newest release "Gravitoni" here are two of my favourite releases by these outstanding sound-artists.
First there is my first encounter to them from 1996. It's their EP"Osasto" and it consists of 4 tracks. Hard, distorted beats overlaid with abrasive textures and minimal modular noodlings over the top. Very hypnotic, trippy, though very fast in parts. This got me totally addicted and I never wanted to be cured from that.
And then there is "Aaltopiiri" from 2000. It is more intimate than its predecessors, but also more accessible in many ways. Though far from being easy to listen to the duo’s more mature approach to their work gives this album an organic feel. Using improvisation as a basis for their work, they let their inspiration take over, inserting beat patterns only when necessary, allowing space and time in each track.
Debut tape from Southern Russia Polypus Sapiens. One man from a rural city records lovely bedroom folkish psychedelia with the simplest means. Gentle and thoughtful 30+ minute work filled with pure bliss. Pro-dubbed tapes wrapped in A3 posters. 75 copies.full of nothing
The always prolific Matt Valentine & Erika Elder are back at it with the debut 7-inch on Electric Temple Records, Sweetheart of the Nascar. Rising from the depths of the grass-roots, free-riding psychedelic underground, MV&EEprovide the nighttime companion over two midnight-oil burning tracks to their recent masterwork for Thurston Moore’s Ecstatic Peace label, Barn Nova. The A-Side title-track, “Sweetheart of the Nascar” is perhaps one of the duo’s heaviest tracks to date, pushing the threshold of Rust Never Sleeps-era Neil Young into sludge metal meets Mark Hollis ambience. The b-side, “Crow Jane Variations” is a slow-burner featuring Erika Elder’s reverb-drenched echoes behind a wash of lap-steel guitar and minor-key rustic psychedelic vibes. The inventive technique is highlighted on “Sweetheart of the Nascar” with two drummers playing – one in the left channel, one in the right, spread across a gorgeous stereo-pan. *electric temple
14 outstanding compositions from the four corners of the world played on stringed instruments and recorded and released 78rpm records circa 1920-1950. Featuring fiddles, shamisen, charango, Paraguyan harp, Indian vina, Lebanese oud, Persian violin, Vietnamese moon guitar, and more. All previously unreleased, carefully transferred and mastered and presented with detailed liner notes. Pressed on high quality vinyl, full color cover featuring 78rpm record sleeve graphics, with an insert of extensive liner notes and photos. *Piccadilly Records
Debut vinyl release fromNatural Snow Buildings' Solange Gularte's solo project, Isengrind. Modlitewnikcontinues Solange's fantasticly far out occult psych-folk-drone trip outs, 12 tracks across the length of this LP, considerably shorter pieces in comparison to her work with Mehdi in Natural Snow Buildings, Isengrind retains a certain amount of the sound of the duo, but it is a whole other beast, in many ways much stranger and darker, but still hauntingly beautiful with some fantastic blissed out vocal drones, dreamy guitars, and psyche soaked dark drone zones. Heavyweight vinyl, housed in a pro-printed full colour fold over sleeve with all 4 panels featuring stunning artwork by Solange, the inside of the cover is especially spectacular. blackest rainbow
History's already shown that the self-proclaimed master of "bad taste" has always had impeccably good taste, even at his most extreme. A large part of the reason that his aesthetic has had a real and unabated influence since the early 1970s is that there's nothing forced or ironic about his approach to film-making, including the soundtracks to his movies, which the director terms "little-known, weird vintage music." Waters says that the selections on A Date are "all romantic seduction music I would play if I had you over." Naturally, it's an off-kilter patchwork selection; most folks would not try to seduce someone with either an Ike & Tina Turner number or "Sometimes I Wish I Had a Gun," sung by Waters habitué Mink Stole. The collection is fun and veers from mellow crooners and hopped-up rhythm and blues to forgotten rocker hits from the '50s ("Tonight You Belong to Me" by Patience and Prudence) and '70s ("Jet Boy Jet Girl" by Elton Motello). If the collection sells well, the director promises to bring you Breaking Up with John Waters...
In the 1980s, Divine released several dance musicrecords which were club musichits in theUnited States, Canada, Europe, and Australia. Divine's records comprisedsynth-heavy Hi-NRGmusic, most of it composed, created, performed, and produced by Bobby Orlando. In the United States, Divine's highest-charting songs were "Native Love", peaking at #21 on the Club Play Singleschart, and "Shoot Your Shot", which reached #39 among Club Play Singles. Divine's early UK releases on the Design Communications label included "Love Reaction" (which "borrowed" elements of New Order's big hit "Blue Monday")"Shake It Up", and "Shoot Your Shot". All of these releases were big gay club hits and minor mainstream chart hits. The Stock, Aitken & Waterman-produced song "You Think You're A Man" was Divine's most successful UK hit, reaching #16; the song was also a Top 10 hit in Australia, reaching #8 (Due in part to a popular promotional tour in that country which included an appearance on the popular Australian music show Countdown.) Among the material Divine released on the Proto label in the United Kingdom was "I'm So Beautiful" (the follow-up single to "You Think You're A Man"), "Walk Like A Man" and "Twistin' the Night Away". *wikipedia
DIVINE - "Unforgettable Hits" - Original Versions - (1982/1983)
1. Shoot Your Shot 2. Jungle Jezebel 3. Native Love 4. Love Reaction 5. Shout It Out 6. T-Shirts & Tight Blue Jeans 7. Psychedelic Shack 8. Shake It Up 9. Kick Your Butt 10. Alphabet Rap
DIVINE - "Unforgettable Hits" - The Remixes - (1996)
1. Shoot Your Shot (Jon Of The Pleased Wimmin remix) 2. Jungle Jezebel (Hyper Go-Go remix) 3. Native Love (Jon Of The Pleased Wimmin remix) 4. Love Reaction (Jon Of The Pleased Wimmin remix) 5. Shout It Out (Check Point Charlie remix) 6. T-Shirts & Tight Blue Jeans (Check Point Charlie remix) 7. Psychedelic Shack (Hybrid remix) 8. Shake It Up (Aquarius remix) 9. Kick Your Butt (Hybrid remix) 10. Alphabet Rap (Hyper Go-Go remix) 11. Native Love (Mark Moore remix)
Two legendary entities from the experimental hinterlands unite for this challenging collaborative outing. Krautrock icons Faust team up with ferocious British electronics experts Nurse With Wound resulting in a line-up featuring Zappi Diermaier, Steven Stapleton, Jean-Herve Peron, Colin Potter and Amaury Cambuzat. Although the initial psychedelic benevolence of 'Lass Mich' is redolent of the Faust crew, it's not long before the far-flung concrète machinations of NWW take a stranglehold on the album's sonic make-up.
The album's title track is an unsettling drone piece, loaded with tension and a jarringly discordant conglomeration of organic and synthetic tones. After eight and a half minutes or so have expired you'll think you're listening to some sort of unholy, monastic chanting, but soon the comparatively soothing sounds of hand-played percussion establishes a welcoming rhythm, and the disjointed electroacoustic weirdness of 'Tu M'entends?' fires up.
Finally, closing piece 'It Will Take Time' evokes the disorientating wave systems of 'Disconnected' before gradually slipping into a kind of elongated gong resonance at the end. Compelling stuff from two remarkable groups.
01. Absu - The Gold Torques Of Ulaid 02. Eyehategod - Serving Time In The Middle Of Nowhere 03. Electric Hellfire Club - D.W.S.O.B 04. Spazz - Gummo Love Theme 05. Bethlehem - Schuld Uns'res Knoch'rigen Faltpferd 06. Burzum - Rundgang Um Die Transzendentale Säule Der Singularität 07. Bathory - Equimanthorn 08. Dark Noerd - Smokin' Husks 09. Sleep - Dragonaut 10. Brujeria - Matando Gueros 97 11. Namamax - The Medicined Man 12. Nifelheim - Hellish Blasphemy 13. Mortician - Skin Peeler 14. Mystifier - Give The Human Devil His Due 15. Destroy All Monsters - Mom's And Dad's Pussy 16. Bethlehem - Verschierte Irrelgiositat 17. Mischa Maisky - Suite No.2 For Solo Cello In D Minor Prelude 18. Sleep - Some Grass 19. Rose Shepherd & Ellen M. Smith - Jesus Loves Me