Autotomy is a collaboration between Belgium’s Sleeperhold Publications, Brooklyn-based musician Patricia (Max Ravitz) and the Dutch artist Louis Reith. This output is the result of a long process of contemplation, discussion and elimination which gave us a record that encapsulates both Patricia’s sense for hardware production and dance floor rawness. Describing this release is not a simple task. So we’ll just tell it like it is: it’s a record that slows down and, in this process, reveals its mystery. Referencing the title of this release, wunderkind Max Ravitz seems to provide the listener with the possibility of transformation, a way to shed part of your own being.
When running though the tracks, one discovers the essentials of Patricia’s sound architecture: the presence of lightness, of longing, mixed with the ability to deny it in the next instant. Sonically, there’s a careful balance in these productions that belies their fundamental function as body music. It’s ambient yet danceable, approachable despite it’s often deconstructed layout, and ultimately warm and inviting.
The entire record is made using Ravitz collection of hardware, which gives it its uncompromising texture. The presence of kicks, beats and soundscapes does not originate from a clean digital source but from a physical action, an excerpt of movement, a tick of the human hand. It is floating versus rhythmical movement, visceral versus strict. But above all, it is alive.
The artwork used for Autotomy’s sleeve design and the etching on the B-side was provided by Louis Reith. (All three tracks feature on the record’s A-side.) Just as Patricia, Reith tries to resist technology in favour of physical and craft-based media, though the contrast between digital and analog is always present.
Dutch artist Louis Reith produces works through a variety of different media, ranging from collages to wood sculptures, to paper objects and ink on paper works, always keeping an interest in simple abstract shapes and their combination. With an interest in materiality Louis resurrects found footage and creates new landscapes of shape and color, celebrating the human hand at work. Deliberate compositions form an illegible visual language where hidden words are portrayed as abstract sculptures.Reith also co-runs Jordskred, an independent publishing company worth checking out.
Ravitz certainly is unstoppable and releases in a relentless and uncompromising fashion.
Besides many collaborative projects with an array of artists (released under monikers such as Masks, Pulpo, Inhalants, DSR.MR…) he’s released music on labels like Opal Tapes, L.I.E.S., Russian Torrent Versions, Ghostly Intl.,… 2017 has been quite a year for him so far. He not only founded his own imprint, Active Cultures, but also released a triple LP. Ghostly Intl. describes the release as a “kaleidoscopic, a multi-faceted techno trip” and we couldn’t agree more.
1. Learned Behavior (6:14)
2. Diminished Feeling (4:58)
3. Looking Outside (4:18)
Available formats and quantities:
– Vinyl only, 350 pressed copies.
Description of physical packaging:
– One-sided LP. A-side contains music, B-side contains an artist etching (done by Louis Reith)
180 gram vinyl.26
Caviar Glowing is the most realised face of Croatian Amor so far. Over the three pieces that make up the recording a broad spectrum of the projects previous methods are present, but they manage to go further than they have done prior.
Field recordings, voice samples, synthetic melodies and electronic drum rythms blend and bleed in and out of each other. Caviar Glowing is a club record. But rather than being a record to play at a club it is a record trying to portray what it sounds like being there, when night turns back into day under puncturing dance floor beats and in the toilet stalls where you can trade anything you have or is. Where you feel more than you ever did before and know less, the place where ecstasy and paranoia becomes two aspects of the same core emotion, the inescapeable fever of knowing that no matter how hard you dance or how much you take, no one in the room will be as beautiful tomorrow as they are at that point and with every beat morning is getting closer. Caviar Glowing is a record about being in a place, knowing that you are supposed to be somewhere else.
Maurice Scheltens (1972) & Liesbeth Abbenes (1970) provided Caviar Glowing with the b-side etching and cover visual. The duo’s technical refinement and attention to detail, coupled with precise compositional clarity, allows them to create beautiful tableaus with a unique, graphic quality. Objects are meticulously arranged into configurations. Flat becomes spacial and vice versa. The context of every element gets questioned and becomes part of an landscape of utopian compositions. Scheltens & Abbenes have quite an impressive resumée, with clients including Yves Saint Laurent, Vitra, Hermès, COS, Louis Vuitton, Balenciaga and magazines such as Fantastic Man, Wallpaper, Pin-Up, and The New York Times style magazine.
For this record they present a tableau of empty glasses, resonating perfectly with the story Croatian Amor is whispering in our ears.
This vibration is cast into new dimensions. Liberating Eros, it circles the globe, backwards and forwards, flowing to and through us. It is said the artist has a gift— suited for the erotic life of property.
On Eros in Arabia, Richard Horowitz channels this vibration and bends bandit sounds by pairing the ancient ney cane flute with the Prophet-5 synthesizer. Interspersed with other instruments and ideas, like echo delayed Moroccan drumming and self-made magic, these elements deal in duality like the ever-shifting characteristics of the composer: the Hollywood Horowitz who scores films like The Sheltering Sky and Any Given Sunday, and the Morocco Horowitz who founded the Gnaoua Festival in Mogador, attended by 500,000 people every year.
Working in natural succession from end to beginning, “Elephant Dance” demonstrates the central synth and ney node to explore energetic sound patterns Horowitz imagined to be played in the 16th century on the island of Java, around the time Sufi’s may have arrived in Indonesia. Delicately trampling the twenty minute mark, the piece offers an immersive climate of microtones that might, with the primordial matter of love, alter DNA. “Baby Elephant Magic” is “Elephant Dance” but sped up— producing digital baubles that sound less like an Indonesian forest, more like an urban hive of mechanical insect interaction.
The piano on “23/8 for Conlon Nancarrow,” with John Cage technique at play, is played “as fast as possible by a human.” The sounds are driven to derail from the space time continuum. On “Never Tech No Foreign Answer,” a cheap cassette recorder microphone captures the Prophet-5 left to the devices of its master’s inner clock, taking on a frenzied sound form that vibrates in place before bouncing off the tape case walls. Chaos is concentric.
“Queen of Saba” incorporates the vocals of long-time collaborator, Sussan Deyhim. Described as one of Iran’s most potent voices in exile, Deyhim’s work is in both the tradition of Sufis and the late feminist poet, Forough Farrokhzad. Recently Deyhim and Horowitz worked together on a multi-media performance based upon Forrokhzad’s Iranian New Wave film, The House Is Black. Here Deyhim performs a taḥrīr where vocals go low to high without any semantically meaningful words. Horowitz’s associations with great cultural icons of the Middle East, like these women, soften (in)appropriations.
Less aggressive than its predecessors, “Eros Never Stops Dreaming” introduces the bendir frame drum, the feathery wind of the ney floating above its bowing rhythm with effortless mathematics. “Bandit Nrah Master of Rajasthan” begins where the album ends, an ode to Shakuhachi flute players known to indulge in both trance-inducing circular breathing and espionage.
Horowitz is linked with the worldly sound seeking circles of minimalist and avant-garde New York City musicians, especially Lou Harrison and La Monte Young, with whom Horowitz shared Shandar as a record label momentarily. He recorded and toured with Jon Hassell and collaborated with David Byrne and Brian Eno, Jean-Philippe Rykie, and Bill Laswell. Along his travels he befriended Brion Gysin and Paul Bowles, the latter whom mentored Horowitz over decades of correspondence, some of which documents the making of Eros and comes quite literally with this edition.
A record of physical and intellectual love for Arabia, FTS extends this flowing forward and backward – a shimmer that reverses the backward spelling of Ztiworoh. Eros is presented in the ever present. To borrow from a song title, Horowitz remains gainfully employed as an “inter-dimensional travel agent.”
New music from BBC’s Radiophonic Workshop
“A young man is sucked into a religious cult and is increasingly under the mind control of the cult leader. As his family’s efforts fail to talk to him out of it, they hire a vigilante who attempts to kidnap and de-program him.”
“Known for countless creative and commercial endeavours Loke presents his first solo full length under his own name. As with all of Loke’s output City of Woman harnesses the radical with the aesthetic in a manner of extreme pleasure for all who encounter. Harnessing his thorough knowledge and experience in extreme electronics, melodic encounters and sultry showmanship Loke ties together disparate threads of various underground movements to create a singular and deeply personal journey through industrial temptation, noise refraction and melodic seduction. This is 21st Century pop music. One which dismantles previous held borders of sound to present a wide palate of sound, song, abstraction and intense emotion.”
Jlin is back with “a percussion-led tour de force, it’s a creation that seals her reputation as a unique producer with an exceptional ability to make riveting rhythmic music.”
“Finders Keepers Records presents an incredible cryogenically suspended slice of precious precocious immersive fledgling synthesis for this ultra limited RSD 2107 title.Ironically well removed from the intension of phonographic application in its original inception, this anti-pop wash of marine biology modular synth sound design was originally proposed by a very young Ciani for exclusive infinite loop airings in a giant mid-American shopping mall aquarium in 1977.
Presented here as an isolated one-sided pressing on aquatic clear vinyl and including the original press release and a press cutting this limited release proceeds a wider series of unreleased Ciani work for 2017.”
“New York’s DNA have had a massive effect on alternative / indie rock around the world, despite the trio never releasing a full-length studio album during their four year tenure (1978-82). Various groups citing them as an influence have included Sonic Youth, Boredoms, Big Black and Blonde Redhead (the latter taking their name from DNA’s most-famous song). While the band’s explosive live performances captivated audiences, extant recordings captured DNA’s dynamic sound and savage economy in songwriting.
Originally released in 1981, A Taste Of DNA remains a primary source for No Wave archaeologists. Singer/guitarist Arto Lindsay and drummer Ikue Mori are joined by bassist and Pere Ubu founding-member Tim Wright. Across the EP’s six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay’s guttural screams create a thoroughly personal semantics.”
“Painstakingly written from pieces developed upon since 2013, the new record, titled ‘Serpent Music’, was initially composed as a soul record – based around delicate and emotive songwriting in various forms. It was a highly difficult project to undertake on both a creative and personal level, weaving thematic links through paranoia, social anxiety, and missing loved ones. “The songs come from a much more emotional and very vulnerable place… They’re very close to me and I’ve been cautious of how I would eventually present them to the world.” he explains.
The album spans sonically diverse and richly-textured pieces, formed from live, organic instruments, samples and various field recordings. Dreamlike lo-fi psychedelia sits alongside broken electronic experimentations, ambient compositions between abrasive noise offer insight into a haunting otherworld. From melodic choral vocals and soaring synths, to screeching guitar riffs, dramatic spoken word samples and live drumming, ‘Serpent Music’ evidently moves through a strange and intriguing personal journey.”
“Recorded in 2015 in Brooklyn, NY, McDowall’s synonymous modular synthesizer compositions are augmented by obtuse sampling cut-ups and contributions from Nicky Mao (Hiro Kone / Effi Briest) rounding out the lumbering sequential knot work that has become synonymous with McDowall and craft. All bundle orders ship with clear red vinyl.”
“The Garden Of Mirrors is a collection of music made for ethereal planetarium performances and a series of laser shows which earned the duo of Kat and Bob the collective moniker of Emerald Web. These multi-purpose recordings remastered from rare tapes typify the duo’s unique ambient sound that would win them a firm fixture in the hearts of a generation of new age devotees and proto-techno enthusiasts who operated and survived outside the parameters of the major music industry that dominated the era.
Following one of the most requested titles on the first Disposable Music collection Sam Mcloughlin and Alison Cooper’s Supernatural Lancashire 2 brings a wide selection of self-made acoustic and electronic instruments to their Northern rehearsal room to blend semi-improvised melody and syncopated mechanical folk – evoking sonic images of bygone rural industry, religious corruption, hallucinogenic medicines, scenes from classic pastoral UK horror films and cautionary European fakelore.
* Download code only available with purchases through the Finders Keepers website”
“Icy ambient textures transmitted from somewhere far away and long ago.. please enjoy the music of young German sound artist Phil Struck.”
Cassette case includes zine and 2 cassette copies; one for you, one for a friend.
Side A: 16:53
Side B: 21:41
Includes unlimited streaming of PHIL STRUCK – QTT5 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
“Presenting 30 min of freaky modular & found sound recordings from Solpara’s house of fun/nightmares.”
Cassette case includes zine and 2 cassette copies; one for you, one for a friend.
Side A: 15:14
Side B: 14:31
Includes unlimited streaming of SOLPARA – QTT6 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Emotional northern ambient from Varg and Michel Isorinne recorded during the desolate Swedish winter.