Reaching a near-mythical status amongst fans of free jazz’s most worldly intrepid explorer, these seldom heard Paris soundtrack sessions known as Music, Wisdom, Love have evaded collectors’ grasps and confused historians for exactly 50 years. Instigated in Paris in 1967 and filmed during Don Cherry‘s downtime on a visit to the Chat qui Pêche nightclub in March 1967, where he played with Karl Berger, Henri Texier, and Jacques Thollot, the bulk of this cinematic portrait was filmed on the streets of Paris under the direction of creative all-rounders Jean-Noël Delamarre and Nathalie Perrey, who, as their careers bloomed, would become pivotal figures in underground French cinema – straddling La Nouvelle Vague, adult entertainment, and cinema fantastique in what can only be described as speedball cinema. As the supportive creative family that primarily played home to French vampire/horrortica director Jean Rollin, both Nathalie and Jean-Noël, his brother Jean-Philippe Delamarre and a small team of other fans of oblique media would be responsible for a vibrant micro-culture that awkwardly flourished on the outskirts on the Parisian new wave – combining comic book culture, Lettrism, sexual liberation, psychedelic rock, graphic design, and, with this record as prime example, free jazz and avant-garde music. What previously might have been regarded as an unlikely coupling, with the benefit of half a century of archival hindsight, this release documents the essential cosmic collision of two fantastic planets. Available here for the first time ever and licensed from producer and director Jean-Noël Delamarre himself.
Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth-driven, proto-techno, imaginary world music created on a Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in 1982 by two politically-driven post-punk theater performers from a shared house in Leeds. To even the most perspicacious and adventurous of alternative music fans, the genuine bloodline of this previously unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this project’s ambitious and exotic credentials didn’t tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that you’ve never heard. From the same social landscape as Gang Of Four, The Mekons, and Impact Theatre Co-operative – armed with a Wasp synthesizer, an ocarina, and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dream-like illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next five minute fix of outer national fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers, in close collaboration with the original composers, present the first-ever full soundtrack release for the UK-specific cult animated series. Finders Keepers take the original homemade micro-melodies and reintroduce them to a musical landscape where fans of vintage electronics, concrète tape effects, pocket percussion, and domestic synths are finally ready to be reunited with the magnetic music of Moominvalley.
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!
Ltd. run Andy Votel mix cassette. Edition of 80 copies.
A2 Wide Awake
B Labyrinths I-XII
“Kaitlyn’s solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory.”
A1 –A.F. Moebius Erika 2:37
A2 –Kriminelle Tanzkapelle Klatschmohn 2:50
A3 –Heinz & Franz Immer 1:36
A4 –Magdalena Keibel Combo Er Hat´s Geschafft 2:33
A5 –Choo Choo Flame Nein 1:34
A6 –Stoffwechsel Fly, Fliege, Fly 5:12
A7 –Corp Cruid 37 °C 3:24
A8 –Taymur Streng, Ornament & Verbrechen Das Sentimentale Ufo 1:02
B1 –Der Demokratische Konsum Die Kuh 2:36
B2 –A.F. Moebius Böser Traum 1:46
B3 –Gesichter (2) Sk 8 Gesichter 2:30
B4 –Ihr Arschlöcher Urtramp 4:05
B5 –Aponeuron Jab Gab Hej 2:27
B6 –Robert Linke Musik Zum Weltuntergang 8:59
“Inspired by punk and post punk, vibrant scenes dedicated to independent self-actualization by means of self-distributed cassettes – the cheapest and fastest medium – were developing on each side of the Cold War’s confrontational line. Albeit, under quite different circumstances. While there was a DIY euphoria in the West, which would also have had ideological motives, subcultures in the East simply had no other means. Even the first act of replication meant moving into illegal territory, since every duplication had to be authorized by State authorities, just like anything else. The protagonists – musicians, painters, poets, filmmakers, performers – crossed genres and jumped back-and-forth between various styles. Disillusioned, and often ready to jump towards the West, these border crossers defined themselves rather somewhere between non- and anti-political, pursuing self-actualization strategies by means of an extended niche existence. They took refuge in the search for ways of creative self-assertion and communication, looking out in sensual despair, utilizing sounds of rage, linguistic wit and a passion for tinkering. Driven by ubiquitous boredom, equipped with plenty of time and free of economic restraints (or rather possibilities), labor was performed with no regard to the final product, hardly documented and almost never published. With the partial opening of State-controlled media and cultural sites accompanying the beginning agony of the State, conditions changed. Suddenly there was radio airplay of supposedly illegal cassettes and weird noise performed at Palast Der Republik. In the end, full albums by these “other bands” were released on the State-owned label AMIGA. The collapse following soon after relieved the activists remaining in the country who continually had to re-position themselves.”
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)
B Silicon Sessions 1 – 9
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.
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.
Originally released in 1960, this concept album is full of incredibly odd music, it was a masterpiece of left field sound and a full on spectacular action stereo extravaganza. This outer space fantasy is now remastered, 12 tracks appearing once again on vinyl.
er an overwhelming amount of fan requests, Netflix is releasing the soundtrack to its hit sci-fi horror series Stranger Things. The soundtrack was crafted by Kyle Dixon and Michael Stein of Austin-based synth band Survive. “We discussed having a classic tone and feel to the music for the show but being reserved enough that it wasn’t ’80s cheese, while offering a refreshing quality so that felt modern,” Stein said in a press release. “This was one of the qualities that drew them to our music in the first place. Having a familiarity with classic synths worked, but with an overall forward thinking approach.”
Clear smoke vinyl version! After an overwhelming amount of fan requests, Netflix is releasing the soundtrack to its hit sci-fi horror series Stranger Things. The soundtrack was crafted by Kyle Dixon and Michael Stein of Austin-based synth band Survive. “We discussed having a classic tone and feel to the music for the show but being reserved enough that it wasn’t ’80s cheese, while offering a refreshing quality so that felt modern,” Stein said in a press release. “This was one of the qualities that drew them to our music in the first place. Having a familiarity with classic synths worked, but with an overall forward thinking approach.”
2xLP, Includes digital download
A1 –Linda Smith – I So Liked Spring
A2 –Karen Marks – Cold Café
A3 –Bruce Langhorne – Leaving Del Norte
A4 –The Seraphims – Consciousness Of Happening
B1 –Gary Davenport – Sarra
B2 –Some Of My Best Friends Are Canadians – Feeling Sheepish
B3 –The Rising Storm – Frozen Laughter
C1 –Warfield Spillers – Daddy’s Little Girl
C2 –Joyce Heath – I Wouldn’t Dream Of It
C3 –Joe Tossini And Friends – Wild Dream
C4 –Scott Seskind – I Remember
D1 –Angel – Driving (Down)
D2 –Nini Raviolette and Hugo Weris – Slow
D4 –Once – Joanna
“Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. It’s a DIY collection of different genres, from different countries across different decades, that are all bound by the same longing sentiment. A concept compilation! A seemingly disparate suite of selections of forgotten fables by more or less never-knowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind’s adolescent musical road movie to Karen Marks’ icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience. If the names sound wholly unfamiliar that doesn’t matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all – Gary Davenport declined to release “Sarra” after he split with the girl for whom the track is named – years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that’s achievable when music is made and no one is listening. Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths – DJ Sundae’s labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled Fire Star, a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection. Released by popular NTS show “Noise In My Head” offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe. Includes digital download.”
Conceived as a kind of sequel to 2012’s Sleep Games there’s an epic sensibility to Stasis. The haunted concrete caverns of the earlier album give way here, to vast, awe inspiring spaces.
The album has a strong narrative flow that can be read either as the soundtrack for an interplanetary voyage under suspended animation or the exploration of vast inner realms under some other form of technologically enhanced sleep.
The LP packaging is designed by Julian House. The 180gm LP includes a free download card.