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.”
“An interview with Jack Smith by Sylvère Lotringer published in 1978 in the Schizo-Culture issue of Semiotext(e). Liner notes by Sylvère Lotringer. Released by Semiotext(e) in an edition of 500 copies. Edited by Robert Dewhurst and Hedi El Kholti”
Pure and peaceful new age cassette for the serious fan of tranquility.
Sitar, drum machines, and synths from former member of Popul Vuh!
“LA-based label Sister City Limited sees its fourth release from two thirds of its label counterparts, Dean Grenier and Hej Fund. Dean Grenier, with singles on Tectonic, Symbols and Photek Productions, continues to move from his roots in American underground bass music into more techno-infused sounds. Hej Fund is James Campbell from LA, a student of percussion, who specializes in rhythm tracks, heavy drums and random synth experiments.”
“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.”
Solange’s hugely acclaimed 2016 album!!
“This powerful, largely unheard body of work finds Alice singing for the first time in her recorded catalog, which dates back to 1963 and includes appearances on six John Coltrane albums, alongside Charlie Haden and McCoy Tyner, and 14 albums as bandleader starting with her Impulse! debut in 1967 with ‘A Monastic Trio.’ The songs featured on the Luaka Bop release have been culled from the four cassettes that Alice recorded and released between 1982 and 1995: ‘Turiya Sings,’ ‘Divine Songs,’ ‘Infinite Chants,’ and ‘Glorious Chants.’ The digital, cassette and CD release will feature eight songs. The double-vinyl edition features two additional songs, “Krishna Japaye” from 1990’s ‘Infinite Chants, and the previously unreleased “Rama Katha” from a separate ‘Turiya Sings’ recording session.”
“From the brooding opening bars of the main Fire Walk With Me Theme, Angelo Badalamenti’s gorgeous, eerie score introduces us to a cinematic experience which significantly begins with the smashing of a television screen. Just as the Main Title from Blue Velvet echoed the Hitchcockian hues of Bernard Herrmann, so here we have just the slightest touch of Taxi Driver, as Jim Hynes’ plaintive, keening trumpet soars above a landscape of melancholy keyboards, drawing us into a world which is at once alien and familiar.”
“25 years on, with countless releases for Peacefrog, Ghostly, Planet E, 7th City, Ongaku, Raw Fusion and Circus Co., their burning desire to leave a dent in the realm of post-punk, industrial, EBM and noise has resulted in INTERVAL’s transmit, their debut on HELIC.AL, featuring their close friend Andries Boekelman on bass. Tracked and mixed using Sines’s collection of vintage analog consoles, tape machines and effects units, it’s a departure from the increasingly sterile digital environment most have come to cherish Instead, they’ve dumped laptops and pitch-correction for analogue time modulators designed for Stevie Wonder, and delays & reverbs dreamt up by Factory Records’ Martin Hannett. Self-described as “post-punk experimental shoegaze goth beat-driven mechanical dirges of love and lust”, INTERVAL is what happens when you take experienced electronic music producers who wear their broken hearts on their sleeves and get them back to their formative roots.”
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.”
“Powell’s knockout debut EP for XL sounds like nothing else. Club music in extremis.”