KOENJI HYAKKEI can not be categorized. Filing them under the genre tag ”other music” is just not ”other” enough. Led by Tatsuya Yoshida (of superhuman japanese drums & bass duo Ruins), Koenji Hyakkei take Magma's Zeuhl-music, neo-classical jazz rock, epic Hollywood metal, medieval choral chanting and hardcore punk and stuff everything in a cosmic meat grinder. What comes out is the highly explosive, uncategorizable ”otherness” of Koenji Hyakkei.
The music is insanely hyperactive, exploding with flashy keyboard lines, intricate guitar riffs, speedy, convoluted bass/drum patterns, weird time signatures, operatic female vocals that border on apocalyptic war cries and eerie chanting in a made-up language of their own. All this executed with superhuman prog rock precision AND crust punk energy.
For fans of Magma, Deep Turtle, Boredoms, and people looking for a new favorite ”other music” band.
Hundred Sights of Koenji was originally released on CD in 1994 by God Mountain Records.
" ... si l'on n'en revient pas toujours à l'unité d'une toile tendue, bordée, cadrée, surveillant ses marges comme un espace vierge, homogène et négatif, laissant son dehors dehors, sans marque, sans opposition, sans détermination, prête comme la matière, la matrice, la khôra, à recevoir et à répercuter les types. Cette interprétation aura été vraie, l'histoire même de vérité telle qu'elle est en somme un peu racontée dans ce livre. "
Greg Stuart, crotales Michael Pisaro, sine tones/composition
From the notes:
"This record consists of four crotales, each bowed for 16 minutes. Against each crotale I have placed sine tones, one after another, for four minutes each (four for each crotale note). The score gives 10 possibilities for each crotale (over the two octave range of the instrument there are 250 possibilities). Greg selected four instruments, and then sent me the recordings. I took some time to select and scale the volume of the sine tones, work with the stereo balance and mix each crotale/tone combination in a slightly different way.
What emerges from the vast possible selection is four connected pieces, working their way up in range, each having a distinct profile, structured perhaps with a distant echo of a four movement symphony."
LABEL INFO: Late Night Endless is the first album by Sherwood & Pinch and the culmination of two years in the studio developing, re-dubbing and deconstructing tracks. It finds the highest common factor between the two's techniques, making it impossible to see where one musical personality ends and the other starts. It touches on the urban swing of UK garage on ‘Music Killer (Dub)' and 'Gimme Some More (Tight Like That)', on interstellar nineties ambient dub on 'Wild Birds Sing', on the mystical minimalism of Pinch's first releases on 'Africa 138'. Utilising Sherwood’s deep-fathomed sound bank, Late Night Endless also incorporates elements of his previous productions, including vocals by Daddy Freddy, Congo Natty, Lee ‘Scratch’ Perry, Prince Far I and Andy Fairley.
Adrian Sherwood built up a vast catalogue of music through the 1980s as producer to the sprawling dub-industrial-electro collective that was On-U Sound, which emerged from a fertile post-punk scene that was embracing Jamaican rhythms. In his capacity as a DJ and live sound engineer/dub controller, he connected with the likes of The Clash, The Slits, Public Image Limited and The Pop Group. He also remixed, produced and collaborated with Primal Scream, Nine Inch Nails, Ministry, Depeche Mode, The Fall, Blur, Air, Peaking Lights, Django Django and Machinedrum.
Pinch has became revered as a dubstep stalwart, founding the respected label Tectonic in 2007. He’s one of the earliest dubstep producers to expand outwards into techno and other sounds to keep his work and his Tectonic label fresh as dubstep itself went mainstream. One of Pinch's most well-known tracks is "Qawwali" (Planet Mu), which references the devotional singing of the same name and features samples of Nusrat Fateh Ali Khan. One of the first producers in the dubstep scene to release a fully realised album in Underwater Dancehall, he also made connections with an older tradition of heavy bass music by releasing an album by dub legend Scientist on Tectonic. More recently, he collaborated with man of the moment Mumdance (recently signed to XL) to deliver a b2b mix full of dubplates and unheard material.
It was inevitable that, as Rob's career kept its steady build, that the two's paths would cross – but actually Rob gave the hand of fate a nudge by booking Adrian to play at a Tectonic takeover at Fabric in London. Adrian recalls “I remember thinking quite clearly how impressed I was with him. I thought as he invited me here, I should invite him down to my studio...”
Two limited edition 12” EPs – Bring Me Weed and Music Killer – followed, but it was being asked to deliver a live show for Sónar Tokyo in April 2013 that really put a rocket under the project. “We decided to have a whole studio on stage” says Adrian, “so that the mix truly is delivered live in a totally unique way that can never quite be done the same again”. The result was triumphant, with even master of noise abuse Alec Empire [Atari Teenage Riot] watching agog from the side of the stage and broadcasting to the world what a revelation it had been.
Lucio Capece - Pendulums, Sine Waves in different tuning Systems
Lucio Capece-Music with Pendulums and Sine Waves in different tuning systems. Three wire less speakers (two of them amplifying Sine Waves, One in feedback produced by a Cassette Walkman), One Tunebug applied to a balloon filled with Helium, amplifying an Analog Synthesizer. Video Documentation taken with a non professional Camera. Ausland, Berlin. 16th May 2013.
"In 2012, my mother at the age of 63 was diagnosed with a rare terminal lung disease. She was given a six-month life expectancy at this time. These recordings were created over the same period of time, comprised of amplifying the human body, various medical equipment and devices, as well as location recordings, that were involved, related to, or used during her treatment.
The title "This Star Teaches Bending" refers to a painting on paper by the artist Paul Klee that he completed in the year of his death. Klee lived the last few years of his life in Bern, plagued by scleroderma, a rare skin disease. Although he never recovered from this illness, he always maintained his love of life, facing his suffering with a trenchant ‘so what?' But by 1940 he had to accept that there was no hope of a cure or any improvement in his health. The star had taught him to bend to the blows of fate.
The track titles refer to titles of paintings that Klee created in 1939-1940, the last year of his life. These recordings are dedicated to Valerie Joy."
Sabisha Friedberg & Peter Edwards
"The Hant Variance" (2012)
out since 17.February 2015
2 LP on Issue Project Room
Sabisha Friedberg’s double LP The Hant Variance was recorded at EMPAC with Peter Edwards in a custom-tuned environment using advanced multi-channel recording techniques to capture a configuration of spatialized sound sources. Combining granular synthesis, analogue synthesizers, tone oscillators and field recordings, the composition is comprised of three movements. The low-end bass, which was recorded live with a subwoofer configuration that allowed for rapid directional shifts, serves as a sonic armature for the piece. Sustained pure tones shift minimally and the allocation of sound engenders a sense of aural disorientation. This landscape, with the premise of summoning a new phantom or haunted sonic space, exists in an interstitial, albeit present zone.
1. Hant Variance Movement 1 (part 1) (16:15) 2. Hant Variance Movement 1 (part 2) (17:38) 3. Hant Variance Movement 2 (part 1) (16:50) 4. Hant Variance Movement 2 (part 2) (10:26)
Sabisha Friedberg, Oscillators; Peter Edwards, Oscillators. Arrangements and Mix, Sabisha Friedberg. Balance and Edits, Todd Voss. Mastering, Rashad Becker. Recorded at EMPAC.
The Lousianian/Lancastrian duo of April Larson and Matt Bower has gone from strength to strength and 'The House In Harbour Park' sees Isobel Ccircle~ reach new heights and depths with its rich and captivating soundscapes. Encased in a silver glitter shell, the edition includes a full color, 2 sided j-card insert housed in a clear plastic Norelco case. The cassette also includes immediate access to the digital version, which is available for download in numerous lossless audio formats.
LABEL INFO: Francisco Meirino's An Extended Meaning For Something Meaningless uncovers deep hidden contexts from the decaying fringe of the auditory spectrum. Here we find ornate beauty in the subtle demise of electronic systems and explore the arcane apprehension of existential degeneration.
The recording looks at how to create something out of almost nothing—basic field recordings, static electronics and failed tape experiments. A 16-channel multi-track piece where reel-to-reel tapes juxtaposition with modular synths, laced in a world of field recordings from late night Osaka to hydrophonic sewers.
The work consists of three untitled tracks with a total runtime of just over forty-four minutes and comes packaged in a letter-pressed sleeve printed by Ben Owen of middle press.
Plus two excerpts from Marcia Bassett's Zaimph -Two Aspects Divided (2015)
"Two Aspects Divided is the fifth release on Zaimphs own Yew label. Composed of two side-length pieces, Zaimph illuminates harshness through two massive movements. Side a, New Exclusive Digital Stonehenge, is a ruptured circuit of distorted control patterns. A demolition of experience melts into liquid sound, always evading linearity, forging an allegorical bridge between an outer world of reality and the truth of a digital inner space. Living Fiction on side b follows a remote dream of death skulls and industrial nihilism, its structure and processes constantly sabotaged by chaotic deviations and cold incantations. Edition of 150."
Stephen Cornford & Patrick Farmer: Measure of Ground
Although they have worked together for almost four years Stephen Cornford and Patrick Farmer had never worked as a duo until recording this collection of brutalist field recordings at the IN/from the out symposium in Manchester last year. Using a single piezo contact microphone and cassette dictaphone, they scoured the site for materials to produce these recordings in a two day period. The necessary translation of these recordings from cassette to computer and back to cassette has endeavoured to retain the quality of the original cassette recordings reflecting their interest in the abstraction of source materials through the recording process.
Patrick has been a percussionist since the age of 12 when his mother bought him his first drum kit, eight years later he spent six months studying Hindustani Tabla with Pandit Nayan Ghosh. Ever restless, his current instrumentation of choice is a reel to reel player whose motors he hopes will surpass his expectations and objects.
Stephen is a sculptor who reconfigures the mechanical media of old. Active in the fields of both media art and experimental music, he is currently performing with a strictly limited palette of feedback and surface noise sourced from blank mastering dubplates.
the brilliant re-wirings or re-spellings
of Cartertuttichriscosey a time machine "Carter Tutti plays Chris & Cosey" (released 15.2.2015)
Plus these rhythmic hiccups and highly original pulsating re-wirings of the connex "rock" and "free jazz" Schnellertollermeiser "X" (Cuneiform 2015)
(label info) The brutal-jazz power trio Schnellertollermeier doesn't screw around. Their uncompromising attitude is even apparent before you hear a note of their music -- it's right there in that deliberate tongue-twister of a name. Their fresh and uncompromising mix of jazz, punk, rock, sound and free improvised music, combined with great musicianship, interplay and a lot of energy, immediately hits the bullseye!
The three men behind the music, guitarist Manuel Troller, bassist Andi Schnellmann, and drummer David Meier, are all eclectic musicians. Schnellmann earned a degree from the Jazz School of Lucerne; Troller studied with British guitar legend Fred Frith and has collaborated with famed U.S. jazz drummer/composer Gerry Hemingway, among others; Meier's ability to bring his own voice into many different musical contexts has made him one of the most sought-after drummers of his generation and he has toured in most parts of Europe, as well as Russia, China and Japan.
In 2006, the three musicians, all around the age of 20, started the trio. Very quickly after their first concerts and their their 2008 debut album, Holz, they become something of a 'underground buzz' in Switzerland, leading to many further appearances. While Holz mostly featured traditional structures of composing revealing their eclectic influences (ranging from Tim Berne to John Abercrombie to Mr. Bungle etc.), Schnellertollermeier soon started working on new material, seeking a more personal sound, both compositionally and improvisationally. The result of this work, combined with the many concerts the group was playing, was their second album Zorn Einen Ehmer Üttert Stem, which was enthusiastically received critically and led to appearances in the most important clubs as well as festivals in Switzerland and Austria.
The group now had a more clear and more original roadmap they were traveling: the group's 'traditional jazz' elements were being subsumed by the brute energy from rock and experimental music, as well as improvisational soundscapes, minimal music and, finally, jazz in the modern, broad, experimental sense. Additionally the idea of a band sounding like one compact organism, with every element having its own importance and clear function, found its result on X. On X, the traditional function of the instruments - the classic power trio of bass, guitar and drums - have clearly been expanded, the bands energy as well as their compositional and performance qualities are even more intense and original than before. The songs, whether long or short, crushing or ambient, have absolutely no padding on them. credits released 20 January 2015
Andi Schnellmann — Bass Manuel Troller — Guitar David Meier — Drums
"Le musical et le non-musical existent; ils existent même souverainement, mais ils existent, ils ne peuvent exister que dans le transistoire. C'est pourquoi - ce n'est pas obligatoirement une conclusion découragéante - on ne peut s'en remettre qu'à l'instinct pour fixer une catégorie aussi mouvante, et, quoi que l'on fasse, ce sera toujours une notion éminement individuelle, éminement contestable et éminement contestée.
Quelle que soient les précautions que l'on prenne pour assurer une cohérence musicale, quelle que soit l'indifférence affichée vis-à-vis de ce problème, quelle que soit même hostilité à considérer ce phénomène comme un problème, il n'en restera pas moins que le jugement sur une oeuvre impliquera toujours en filigrane un jugement de valeur sur quelque chose qui n'est pas une valeur. Ce n'est pas la moindre paradoxe de toute appréciation sur l'oeuvre musicale ou sur l'a-musique."
- Pierre Boulez
Plus the awesone free style non-orthodoxy of
Discordian Community Ensemble
El Pricto: clarinet and alto saxophone Naná Rovira: bass clarinet Pablo Rega: electric guitar Diego Caicedo: electric guitar Carlos Ródenas: electric bass Enric Ponsa: drums
"Hit & Run" and "Multiple Idemnity" composed by El Pricto and Owen Kilfeather, conducted by Owen Kilfeather "Femme Fatale" composed by El Pricto, conducted by Owen Kilfeather "Night for Night" composed and conducted by Owen Kilfeather "Johnny On The Spot" and "Seems You Leaked A Little Blood" were improvised "Criss Cross" was improvised and conducted by El Pricto
Recorded by Lopinski and El Pricto at Discordian Records on April 27, 2014
Mixed and mastered by Lopinski
Concept by Pricto/Kilfeather
Cover design by El Pricto
Backcover design by Aorita
Produced by Discordian credits released 01 February 2015
Plus the great collabo of Henry Kaiser & Ray Russell "The Celestial Squid" (Cuneiform I/2015)
Guitar summits don't ascend higher than when legendary British free-jazz pioneer and longtime session ace Ray Russell meets the brilliant California avant-improv overachiever and Antarctic diver Henry Kaiser in the realm of The Celestial Squid. With more than countless session and soundtrack performances to his credit, including the early James Bond film scores, Russell is returning to his bone-rattling, noise-rocking roots for the first time since the very early 70s. You'll be shaken and stirred as Kaiser, Russell and eight super friends deliver a no-holds-barred, free-range sonic cage match.
Russell created some of the early '70s' most outrageously outside music, releasing hallmark works of guitar shock-and-awe. Russell's "stabbing, singing notes and psychotic runs up the fretboard have nothing to do with scalular architecture," wrote All Music's Thom Jurek, "but rather with viscera and tonal exploration." Russell anticipated the wildest and most intrepid vibrations of Terje Rypdal, Dave Fuzinski, Sonic Youth, Keiji Haino, Tisziji Muñoz and their boundary-dissolving ilk. Russell is hardly a niche performer, though. Untold millions of music and film fans have actually, if unknowingly, already enjoyed Russell's riffs – at least if they saw any of the James Bond films that John Barry scored, beginning with Dr. No in 1962.
For over 40 years, Russell would not make such exploratory music until West Coast guitar experimentalist Henry Kaiser called him out of the blue and asked if he would be interested in co-leading an ensemble in the style of his '71 masterpiece, Live at the ICA: June 11th 1971. Russell was surprised and delighted by the offer, and readily accepted. Why had he waited so long to once again explore the free-jazz spaceways you might well wonder? Simple – no one had asked him to do so!
So on April 12, 2014, Henry Kaiser and Ray Russell – along with drummers Weasel Walter and William Winant, bassists Michael Manring (electric) and Damon Smith (acoustic), and saxophonists Steve Adams, Joshua Allen, Phillip Greenlief, and Aram Shelton – entered Berkeley, California's Fantasy Studios for a day-long session that resulted in The Celestial Squid, a nearly eighty-minute embryonic journey through the deepest waters and most cosmic heights of improvised music. Except for melodic heads and compositional structures, everything on The Celestial Squid is improvised, down to some astonishing extemporaneous horn arrangements. While The Celestial Squid echoes the raw energy and youthful bravado of Russell's earliest achievements, this music synergizes the combined power and imagination of all ten of these musical masters into a force to be reckoned with.
credits released 03 February 2015
guitars: Henry Kaiser, Ray Russell saxophones: Steve Adams, Joshua Allen, Phillip Greenlief, Aram Shelton electric bass: Michael Manring acoustic bass: Damon Smith drums: Weasel Walter, William Winant
recorded live by Adam Munoz at Fantasy Studios, Berkeley, CA on April 12, 2014 mixed by Henry Kaiser, Adam Munoz, Weasel Walter at Fantasy Studios, Berkeley, CA mastered by Paul Stubblebine artwork and art direction by Brandy Gale production by Henry Kaiser