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vinyl -- selection JANUARY 2006 |
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| Artist: |
USKE ORCHESTRA |
| Title: |
Niko Et La Berlue |
| Label: |
SONIG (GERMANY) |
| Format: |
LP |
| Price: |
16,5 euro |
| Catalog #: |
SONIG 050LP |
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"The Uské Orchestra's music is a mixture of styles, but not in the avant-garde sense. There are no pop music styles referenced, wildly combined or rendered ridiculous. Rather microscopic bits from all possible genres are assembled into a teeming musical bazaar. Within seconds they're likely to change mood, instrument, timbre or arrangement. Imagine the soundtrack to The Matrix, performed by a hyperactive brass band from the Balkans or Mexico. Up close, nothing about Niko Et La Berlue appears ostentatious, but taken as a whole, the voluminous magnitude of the assembled tracks emerges from the masses like mighty Leviathan. Though there are key themes discernable in the music of these four Belgians, they keep the music flowing liberally in all directions. Parts of Niko Et La Berlue sound, in fact, like freeform jam sessions spliced together randomly. When the ensemble sounds the attack, the tones are free but the vocals don't dominate, they settle casually into the overall picture. The group combines this unique singer-songwriter approach with a simultaneous cut-up madness and affected eccentricity that the world hasn't faced since the non-music of Nurse with Wound. The album's wonderful artwork completes the 'Gesamtkunstwerk' or 'successful synthesis of the arts'." |
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| Artist: |
SCHAEFER, JANEK |
| Title: |
Early Electronic Compositions |
| Label: |
TONSCHACHT (GERMANY) |
| Format: |
7" |
| Price: |
7,5 euro |
| Catalog #: |
TONS 016 |
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"Both of these compositions were produced while I was working freelance for de Rijke Marsh Morgan architects in London. One afternoon I had a message to call a guy named 'Jet Mistry' who worked for the lift company Thyssen. He was a chatty guy so we talked about names etc, and I decided to dedicate a track to his as I liked it so much. This was produced using an 'RS Integrator' analogue patch bay synthesizer that I'd bought around then with the profits of working a 96 hours week on a new London park competition. Another project we produced at the practice was a quirky, live, stop frame short video showcasing various projects for a touring architecture exhibition. I was asked to edit and produce the sound. Side B is a 7" mix with the spoken sections removed." |
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| Artist: |
ANLA COURTIS |
| Title: |
Early Electronic Compositions |
| Label: |
TONSCHACHT (GERMANY) |
| Format: |
7" |
| Price: |
7,5 euro |
| Catalog #: |
TONS 016 |
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"tribute to calcium" is the first solo-release on vinyl by anla courtis, founding member of the reynols, who released numerous records on labels such as trente oiseaux, drone records and beta-lactam ring records. after the bandsâ life-cycle came to an end in early 2004, courtis concentrated on his solo works and collaborations with lasse marhaug, kawabata makoto or culver (recently on riot season)-
"tribute to calcium is a piece in two parts that explores the harmonic resonances generated by the amalgam of electric guitar and toba violin (a one-stringed instrument made with cans by native argentinian indians of the north-east region). this work brings to light a singular sound alchemy that combines: electric-waterfalls, wide-spectrum-drones and just-intonation-entropy. a real journey to re-discover calcium molecules through modern noise-shamanism". (anla courtis)
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| Artist: |
PETTIBON/OTOMO YOSHIHIDE/OLIVER AUGST/CHRISTOPH KORN/RUDIGER CARL, RAYMOND
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| Title: |
Long live the people of the revolution |
| Label: |
EVENTUELL (GERMANY) |
| Format: |
LP |
| Price: |
$28.00 |
| Catalog #: |
EVTL 005LP |
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A radio play by Oliver Augst/Christoph Korn. Voices: Raymond Pettibon, Oliver Augst, Rüdiger Carl, Christoph Korn. Instruments: Oliver Augst: Mixer; Rüdiger Carl: Accordion, Clarinet, Keyboard, Claviola; Christoph Korn: Guitar, Melodica; Otomo Yoshihide: Turntables, Sampling. Cover design: Raymond Pettibon. "The point of origin for the radio play Long live the people of the revolution are the texts Bruno Schönlank and Ernst Toller wrote in the 1910s and 1920s for the revolutionary speaking choirs which were part of the communist labour movement. Here, Otomo Yoshihide's manipulations of those original recordings meet Raymond Pettibon's captivating lyrics. His revisions and translations of those utopian pieces recall the texts of his drawings and paintings. Both are supported by the fabulous Frankfurt based trio Blank which consists of free-jazz legend Rüdiger Carl, Oliver Augst and Christoph Korn who both work in the grey are between improvised music, electronic music and free noise. Together with Yoshihide and Pettibon they transform that apparently anachronistic combination of art and politics into a highly challenging, at the same time touching piece of art. The design of the labels and the stunning cover is by Raymond Pettibon. Thanks to one of the most unique collaborations in contemporary art and music, both musically and textually Long live the people of the revolution is without a doubt a masterpiece. The vinyl-only release is limited to 400 copies." |
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| Artist: |
THE RESIDENTS |
| Title: |
Meet the Residents DELUXE EDITION
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| Label: |
EURORALPH |
| Format: |
LP |
| Price: |
17,5 euros |
| Catalog #: |
ERLP032 |
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ALSO AVAILABLE DUCK STABS / ANIMAL LOVER…
"First issue of The Residents Classic Vinyl Series. The original 1973 debut album by The Residents. The album comes in high quality gatefold cover and on 180gr heavy vinyl. The first unusual thing about Meet The Residents -- even before you get the record on the turntable -- is that you never meet the Residents: The artists havent signed their names to their debut album. There are no faces either, only a nutty distortion of the Beatles. Which isnt as evasive as you might think, because Meet The Residents takes the vocal and instrumental innovations of the Beatles -- and Captain Beefheart -- and rockets them out into deep space. Listening to the White Album or Trout Mask Replica, youre never sure what youre going to hear from one cut to the next; with Meet The Residents, you cant predict what youll be hearing from one moment to the next. Forget about predictions -- you cant always be sure what it is youre actually hearing. A lot of this music is utterly inexplicable, as in How are they making that sound?. You cant even grasp the well-its-a-synthesizer straw inexplicable, as in How are they making that sound?. You cant even grasp the well-its-asynthesizer straw, because this low-budget, 1973 recording was plainly done by hand: Its basically voices, piano, and winds; some guitar, bass, drums; occasionally, brass and violin; and lotsa percussion (undoubtedly including all sorts of household items and toys and debris and who knows what else). There are some distortion effects through mic and instrumental preparations, but its the Residents use of tape, the tracks theyve razored and overdubbed and remixed and respeeded, which makes their sound so uniquely bizarro. And all these bizarrely unique tracks are served up dripping with a deliberate eccentricity and a playfully grotesque sense of humor. Listening to this music, you can feel the Residents staring straight out at you, their teeth bared in the kind of fixed grin thats ordinarily symptomatic of clinical dementia." - Euroralph.
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