051515 by Varg & Marshstepper
Side A: Varg Live, 45 minutes (mono)
Side B: Marshstepper Live, 23 minutes (stereo)
Cobalt tape loaded into clear, direct imprint shells, shrinkwrapped, numbered, limited to 200.
On occasion of their 10th birthday, Moon Wiring Club boots up the PS2/time machine to revisit key ideas and themes of the series so far; gathering the ghosts for an eldritch dramaturgy of anachronistic hip hop and ether dream atmospheres inspired by subversive, experimental ‘70s theatre, all taking the form of a good ol’ Panto (surreal popular comedies/tragedies beloved of olde england) held at The Clinksell PlayHouse.
You might have guessed already, but Exit Pantomime Control sounds little like any panto that anyone outside of Clinksell (perhaps Burnley, too) has ever seen or heard. Written by Mr Paris Green and Dr Lettow-Vorbeck in the Curtain Draped Studio, 1896-1976, it unfurls a frayed and abstract narrative helmed in loping hip hop loops, which are practically the only thing nailed down on its weightless stage where voices and melodies bob and drift according to MWC’s cryptic direction.
The Motley Supplement kicks the evening off with everything in ‘easy listening’ mode, establishing a somnambulant pace and smoky atmosphere that perfuses the whole play, from what sounds like a lo-fi take on Arpanet’s percolated chorales sung by the Swingle Singers in Temporarily Engaged, to a frosting of steampunk-like FX in the eerie set design of Marvellous King Nonsense.
By this point you’ve probably imagined outlandish outfits and wigs for the intermittent characters, and, after a short intermission for the ghosts to take a leak, the play recommences with the propulsive momentum of Harlequin Escapes Audience, changing scene to a medieval mock-up of harpsichords and crows in 7 O’Clock In The Park, and dialling up the tension with a flurry of dancing Ghosts All Around, and leaving the play perfectly unresolved with the decaying curtain drop of Unsurpassed Novelties.
Beyond the mind of lucky Ian Hodgson, music like this doesn’t really exist, but thanks to his precious imagination we have some glimpse of a beautifully stubborn world where the usual rules don’t apply and anything can happen, provided it’s pretty weird and leaves you feeling strange; always a recommended experience!
Delroy Edwards has come a long way. 2012 marked his introduction into the world of Dance Music via Ron Morelli’s Imprint LIES. After offering up essential dance floor singles like ‘4 Club Use Only’ and ‘Heart and Soul’ Edwards’ established himself as a producer with a unique touch and style. With a growing desire to control his own output and make a more significant statement, Delroy set off to start his own imprint, L.A. CLUB RESOURCE.
Creatively directing his own imprint became a platform for him and over the course of two years L.A.C.R. created one of the most palpable musical experiences in the field. The label released music in a range of styles from a span of generations, the only constant was the high output and stellar art direction. Many releases produced by the label head himself, Delroy’s production were lauded for their piercing simplicity, grace and attitude.
In his first LP for the label, Edwards’ has arranged a sincerely personal moment. The 30-track effort marks a special moment in his growth blending current interests in punk and electronics into an outsider narrative like no other. From Devo to J Dilla the influences across the record are subtle but respectful. Regardless of influence, Hanging at the Beach feels unequivocally new. Experiencing the LP for the first time speaks to the Californian experience in its full range. Certain moments call to the beaches of Monterey while others speak to the sleeze that lines Hollywood Blvd. Edwards doesn’t distance himself from the production style that has defined him and the label, but this effort is a long playing collection, a directed, new moment for the prolific producer.
Quantity – ONE
Printed Matter is pleased to announce the publication of Network, an artists’ project by Nicolas Jaar, co-published with his label Other People. Designed by Jena Myung and Maziyar Pahlevan, the book is the culmination of a multi-phase project from Jaar which takes the form of an online, semi-fictitious network of interlocking radio stations built around chance operations.
Network, like the web-based radio network which precedes it, is conceived in thirds and built from three primary threads:
i. new visual essays and text contributions from Lydia Lunch, Linda van Deursen and Nicolas Jaar
ii. poster artwork advertising 111 radio shows (across 333 stations) created by Pahlevan, Myung, and Jaar
iii. Loose transcriptions of each radio program, comprised of sprawling text culminating in a full-color section of manipulated images.
Invited in 2015 by the BBC to participate in a 6-month residency, Jaar instead set out to write a radio play which positioned an invented DJ at the helm of his own residency inside a fake BBC-style radio world. The program was ultimately deemed too far out and never realized. In its place Jaar approached programmer Cole Brown to collaboratively devise http://other-people.network, a website which would host the programs on continuous loop inviting users to sift through the stations with a radio like dial – and later – a random number inputting system, 1-333.
The stations are made up of more than 20 hours of Jaar’s own mixes as well as original music, among them his recently released album Sirens – the remaining are constructed “fakes”, conceptual audio works created with the help of voice actors. Billionaire FM counts down and offers commentary on the annual Forbes list of world’s top billionaires one by one. MATTA CLARK DEMOLITIONS is comprised of “noises” gathered from the structures which artist Gordon Matta Clark transformed into architectural cut-ups. Red Bull Sponsored Revolutions plays Mozart 24/7.
In its form and content, Network gives theoretical consideration to the inherent political possibilities of radio broadcast. The contributed texts and transcribed radio-chatter that filter through the book offer ways of resistance against entrenched power-structures (of political systems, of the mega-wealthy). Resistencia de Ayer Es La Resistencia de hoy, a station which plays exclusively Latin American Resistance music from the 60-70s, is one such example, though the work of the project is more broadly interested in the model/mechanism itself, a distribution system (in radio and publications alike) which is capable of operating ‘underground’, through pirate channels, and outside the reach of the State. Nicolas Jaar’s Network is looking for word of the revolution, but guarded against the fear it may come Red Bull-sponsored.
Network is 8 x 11 inches, 336 pages, otabound with smythe sewn signatures. The publication features fore-edge printing and includes a half-sheet bookmark. It is printed on 120 gsm Munken Polar Rough, in a first edition of 1100 copies.
Publisher :Printed Matter Inc., Other People
City: New York, NY
Pages: 336 p.
Binding: Sewn Bound
Process: Offset Printed
Color: Black-and-White, Color
Limited Edition of 100 copies.
Mono No Aware is the first compilation to be released on PAN, curated unreleased ambient tracks from both new and existing PAN artists. Featuring Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, ADR, Bill Kouligas and more.
“Mono No Aware”, ‘the pathos of things’, also translates as “an empathy toward things”, or “a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life’s transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present.
The album is mastered and cut by Rashad Becker at D&M, featuring photography by Molly Matalon and design by Bill Kouligas. A Limited Version of 100 copies will be released as a special art edition in collaboration with Mount Analog for Printed Matter’s LA Art Book Fair 2017 (spanning Feb 23-26). All copies arrive with photo print and hand-stamped vinyl, copies sold onsite are also hand-numbered and signed by artist. Limited pre-order release via Mount Analog shipping March 1.
A1. Kareem Lotfy – Fr3sh (03:52)
A2. Malibu – Held (06:22)
A3. Yves Tumor – Limerence (05:29)
A4. HELM – Eliminator (03:27)
B1. ADR – Open Invitation (04 :49)
B2. AYYA – Second Mistake (07:16)
B3. Flora Yin-Wong – Lugere (02:47)
B4. Mya Gomez – justforu (05:31)
C1. Bill Kouligas – VXOMEG (03:36)
C2. Jef Witscher – ok, American Medium (06:19)
C3. TCF – C6 81 56 28 09 34 31 D2 F9 9C D6 BD 92 ED FC 6F 6C A9 D4 88 95 8C 53 B4 55 DF 38 C4 AB E7 72 13 (0 3 :4 3)
C4. James K feat. Eve Essex – Stretch Deep (04 :20)
D1. SKYH1 – Huit (03:51)
D2. M.E.S.H. – Exasthrus (Pane) (03:44)
D3. Oli XL – Heretic (04:17)
D4 . HVAD & Pan Daijing – Zhao Hua (06 :47)
Wielding a left-handed guitar, Deb employs a unique style of
arpeggiated finger picking, producing vast and organic musical textures reminiscent of Vinny Reilly (Durutti Column) with the anthemic power of Sisters of Mercy and Cocteau Twins. In the past two years Deb has been invited to support bands such as Cold Cave, Psychic TV, Clan of Xymox, The Frozen Autumn, Prayers, and label mates Youth Code and King Dude.
From its incarnation, Drab Majesty was a solo act; an interplay between guitar and triggered machines. In 2016, with growing audiences and heightened interest, Drab expanded into a duo, employing the keyboard accompaniment of far-out twin, Mona D – filling out frequencies and upping the spectacle of the live performance.
‘Sirens’ is the highly anticipated second full-length LP from Nicolas Jaar, the Chilean-born electronic music producer, mixing engineer and DJ. A prolific artist with a wide palette of talents, Jaar spent his teenage years in dance music circles in New York City, where he now resides. In 2011, he released his debut album, the critically-acclaimed ‘Space is Only Noise’. In 2012, he was contributed to BBC Radio 1’s prestigious ‘Essential Mix’ series, winning ‘Essential Mix of the Year’.
In 2013, Matador released the debut album from Darkside, Jaar’s project with his friend Dave Harrington. The band toured the record with a giant, rotating circular mirror, with key performances at Primavera Sound and Coachella.
Jaar is the founder of the New York based imprint Other People, releasing music and spoken word by a diverse group of artists ranging from Lydia Lunch to Ezekiel Honig.
Special edition scratch off cover.
Back in stock, the 2012 debut full-length from Austin-based electronic quartet S U R V I V E is available once again with yellow and black alternate artwork. A fresh U.S. repress is in high demand for this modern classic, as the band enjoys a recent surge in notoriety on the heels of members Kyle Dixon and Michael Stein’s soundtrack work on the hit Netflix series Stranger Things. Recorded from 2010-2012 at the band’s own Omniverse Studios in Austin, this record chronicles the early days of the group as they developed and defined their familiar yet original style of dark soundscapes.
This record’s full spectrum of synth-based composition returns to LP and cassette, with CD and limited clear and black-colored vinyl editions available for the first time. S U R V I V E ’ s debut full-length marks the culmination of countless sessions recording and crafting a remarkable balance of songwriting and experimentation. The band’s signature sound is a combination of vintage and modern synthesizers, recorded live and carefully processed to draw character out of every enriched sound wave before joining the mix.
Originally released in 2012 on Berlin-based Mannequin Records,
S U R V I V E ’ s premiere is a fusion of reserved minimalism and lucid hooks. Underlined by the band’s uncompromising standards in sound design, this album maintains a damaged quality that is nuanced and cohesive across all nine emotive tracks. Ambient pieces such as “To Light Alone I Bow” and “Deserted Skies” are beautiful hybrids of harmony and tension that represent the record as a multifaceted work of both mood and melody. In contrast, the cold and brutally propulsive pair of singles “Hourglass” and “Omniverse” are strikingly addictive, making their way onto the soundtrack of the 2014 feature horror film The Guest, directed by Adam Wingard.
“Back in stock, the 2012 debut full-length from Austin-based electronic quartet S U R V I V E is available once again with yellow and black alternate artwork. A fresh U.S. repress is in high demand for this modern classic, as the band enjoys a recent surge in notoriety on the heels of members Kyle Dixon and Michael Stein’s soundtrack work on the hit Netflix series Stranger Things.
Recorded from 2010-2012 at the band’s own Omniverse Studios in Austin, this record chronicles the early days of the group as they developed and defined their familiar yet original style of dark soundscapes. S U R V I V E ‘ s debut full-length marks the culmination of countless sessions recording and crafting a remarkable balance of songwriting and experimentation. The band’s signature sound is a combination of vintage and modern synthesizers, recorded live and carefully processed to draw character out of every enriched sound wave before joining the mix.
Originally released in 2012 on Berlin-based Mannequin Records, S U R V I V E ‘ s premiere is a fusion of reserved minimalism and lucid hooks. Underlined by the band’s uncompromising standards in sound design, this album maintains a damaged quality that is nuanced and cohesive across all nine emotive tracks. Ambient pieces such as ‘To Light Alone I Bow’ and ‘Deserted Skies’ are beautiful hybrids of harmony and tension that represent the record as a multifaceted work of both mood and melody.”
Cititrax is thrilled to present a full length LP entitled Adieux Au Dancefloor by Montreal based recording artist, Marie Davidson. Marie Davidson has emerged as one of the foremost electronic artists working in contemporary pop today. As a long-time member of Essaie Pas (DFA Records), Davidson has had the opportunity to hone her many talents. She has been participating in the city’s vibrant experimental community for much of her adult life. However, in 2012 she began to unveil compositions under her own name, revealing a solo artist who possessed the combined confidence and vulnerability required to write, produce and perform unaccompanied. Davidson’s intimate solo work is embodied through a host of synthesizers, sequencers and drum machines which coalesce in synchronized harmony, punctuated by vocals, half sung, half spoken in both French and English. She masterfully shapes the overall mood, themes, emotion, expression and intensity of her work, which gives the final result a distinctive, cinematic quality.
With Adieux Au Dancefloor, Marie makes a slight departure from her last two releases, via Holodeck (2015) and Weyrd Son (2014), by creating her first fully dancefloor oriented piece of work. Through the 45 minutes of music that comprises the album, she experiments with pop structures, defines her voice, and layers rhythms to make complex and beautiful techno tracks. She closes the album with the title track in classic Chanson style.
Adieux Au Dancefloor will be released in early October. The record will be pressed on 160 gram white vinyl and will feature photographs by the equally talented Corinne Schiavone. The record will be housed in a full color printed heavyweight jacket along with matching printed inner sleeve.
A transcendent splendor radiates through all of the sounds broadcast by Robert AA Lowe. Beginning with the harmonic vocal incantations found as Lichens in the early aughts, Lowe has constructed beautifully rendered tapestries of overlapping tones, phased loops and ecstatic minimalism. Both in album and in performance, his pieces are mostly spontaneously assembled into hypnotic dronings and undulating currents, evoking an earthen spiritualism that feels far more earnest than the archetypal New Age psychonaut. In recent years, Lowe has been bolstering his sound with a modular synth array that has become something akin to his own personal philosopher’s stone – an alchemical device to transform raw electricity into sympathetic chorales to his own hallowed voice. Thought Withdrawal documents a live presentation of Lowe’s work, commissioned by one of our favorite alternative spaces, Land And Sea run by Oakland artist Chris Duncan. The steady swoosh of a slow-motion LFO guides the first half of Lowe’s performance through which he tangles a drowsy leitmotif of cello-like melodies that seem to be struggling to wake up and wanting to quicken in the pace. Lowe dials in a quintessential zoned-out, cosmic vibe of a really mellow JD Emmanuel, which gives way to a generative sequence of muted rhythm box patter all soaked in reverb. As Lowe introduces voice to this water drip scaffolding, a dream-time architecture of cubist cathedrals aglow with crimson / pink neon is fully realized through sound. So lovely.
“VHS” Black vinyl
Volume 2 of this phenomenal soundtrack from Kyle Dixon and Michael Stein of SURVIVE!
Analog synth suspense!
“The Upside Down” Ultra clear black salt and pepper colored vinyl.
Volume 2 of this phenomenal soundtrack from Kyle Dixon and Michael Stein of SURVIVE!
Analog synth suspense!
SPAGHETTO builds on his magnetic pallette, but adds a strong vocal element that stands it as a sort of trap Maxinquaye produced by The Bug. Opener Neophyte perfectly intros the release with the acidic weaponized bells that chime in is fight for the individual to remain free. Each track displays a different side to GAIKA, from the chewed-up jaw of broken glass rap that spits raw on Glad We Found It to the tough dancehall wares of 3D. Before closer Roadside ends things on a sharp edge that threatens to erode the disc as it finishes.
SPAGHETTO is a seriously strong debut and marks out GAIKA as a truly cutting edge artist in every sense of the word.