Joshua Bonnetta - Low Islands (2017)
This tape, a map of sorts, resituates recordings of five disparate islands into an archipelago built up from layers of sound fragments. A study in accretion and the sedimentary parallels of geological formations and sound design; islands imagined as repositories for environmental memory, above and below. Created from field recordings collected at various low islands in and around the Baltic Sea from 2012-2015. Processed via cassette and Nagra 4.2 in Manhattan and Ithaca winter 2016.
A side/ Tola Tola is the tale of a girl who discovers freedom through the frequencies of a radio. It is a desperate attempt to connect with a world that Enver Hoxha’s totalitarian system in Albania had shamelessly canceled, as if there wouldn’t be anything but Albania. Listening to the radio was forbidden (accessible only to a chosen few, namely those who supported the regime). This is a personal experience that recalls when I secretly turned on a radio and found some “foreign” frequencies. I couldn’t understand a word, but I heard life beyond Albania. I felt sucked in by the radio waves until I disappeared into the frequencies. A kind of metamorphosis from human being to a free pure wave without boundaries. (Jonida Prifti)
Elisha Morningstar - MTS (2017)
MTS is made of audio materials collected during the summer of 2016; the two tracks combine and try to reproduce the muteness of documents and various misperceptions. Elisha Morningstar produces abstract sound pieces through manipulation of different kind of sources. Recent releases were out on Strange Rules, Total Black, Ascetic House.
The impressive new 3 tapes batch by
Ginger Breaker - Pumping The Tires Of Hell (2017)
Kris Davis - Duology (2016)
(LABEL INFO) Pianist, composer and bandleader Kris Davis, just named one of Downbeat magazine’s “25 for the Future,” has made outstanding music in trio, quartet and quintet formats; her most recent output ranges from solo piano (Massive Threads) to an octet with four bass clarinets (Save Your Breath). The next logical step seemed to be duo. After brainstorming with producer David Breskin, Davis was ready to make 'Duopoly,' a series of duos with eight colleagues, all highly regarded and accomplished improvisers. Each duo would play two pieces, one composed and the other free, 16 tracks in all. The album is out September 30th, 2016 on Davis' imprint, Pyroclastic Records. “We decided to limit the instrumental palette of the guests,” writes Davis in her booklet text, and so she chose guitarists Bill Frisell and Julian Lage, pianists Craig Taborn and Angelica Sanchez, drummers Billy Drummond and Marcus Gilmore, and reed players Tim Berne and Don Byron. It was only later that the album’s two-part structure emerged, and within that structure, “a symmetrical, palindromic sequence,” Davis writes, “with what [Breskin] calls a ‘mobius twist’ in the middle.” In other words, the players rotate once through and then again in reverse order, with Frisell starting and finishing. The midway shift from structured writing to free improv feels entirely fluid and continuous. “Additionally,” writes Davis, “the tracks are paired by instrument, for cohesive focus and the suggestive hint (or illusion) of a ‘phantom duo’ between each of the guitarists, pianists, drummers, and horn players.” The DVD portion of Duopoly brings the music even more vividly to life: “We also chose to make a visual record … which we hoped would be as live and uncompromising as the music. Shot by Mimi Chakarova with one fixed camera and one handheld, the goal was for this film to have a kind of 1:1 or indexical relationship to the music itself.” With Davis at the center of it all, her pianism a marvel of dynamic control, harmonic mystery and sonic invention, Duopoly opens with the richly contrasting sounds of Frisell and Lage: first ethereal Telecaster-plus-effects on “Prairie Days,” then the pure, warm timbre of Lage’s 1939 Martin acoustic on “Surf Curl.” The duos with Taborn and Sanchez bring out yet more facets in Davis’s playing: “Two pianos is a unique experience,” she remarks. “I can lose myself in the sound. Angie and Craig are such great listeners, and it was an especially freeing and spiritual experience for me.” The drummers, too, are a study in contrast, hailing from different generations: Drummond the veteran, Gilmore the rapidly rising newcomer, both with complementary approaches to sound and pulse and a remarkable gift for listening. Berne and Byron, on their respective free improvisations, create one of the album’s most captivating transitions — from legato, middle-register clarinet to wrenching, extreme extended techniques on alto saxophone. There are five Davis originals as well as two standards, in keeping with Davis’s approach on her solo piano discs: the Hakim/Sulieman/Monk classic “Eronel” features Drummond while Ellington’s “Prelude to a Kiss” features Byron in a gorgeously oblique clarinet rendering. There is one piece by Sanchez, “Beneath the Leaves,” a satisfying contrast with Davis’s vehicle for Taborn, “Fox Fire.” Davis’s original piece for Berne, “Trip Dance for Tim,” takes inspiration from the title of a great Berne composition, “Hard Cell (for Tom).” The free pieces still convey a structural logic, as Davis remarks in the notes: “In some cases, the free playing sounds more ‘composed’ than the tunes do.” Some are first takes; other pieces needed more thinking through: “There was reconfiguration, experimentation, exploration: these were searching dialogues. This album captures the rawness, intimacy, and immediacy of that process.”
Vibration Black Finger - Blackism (2017)
Vibration Black Finger - Mix (2016)
(LABEL INFO) Our latest guest mix is a big one. Clocking in at a meaty one and a half hours, this is by far the most extensive mix we’ve dropped in terms of both its duration and contents, and we’re privileged to say it comes from spiritual jazz connoisseur, Vibration Black Finger. Lascelle Gordon, the man behind Vibration Black Finger, has a background as colourful and dynamic as this mix, featuring stints as the DJ for post-punk pioneers A Certain Ratio in the 80s, as a member of the Brand New Heavies, Heliocentric World and Campag Velocet, and a wide range of other collaborations, such as astrojazz collective Woven Entity with percussionist Patrick Dawes. Most recently, the acclaimed Vibration Black Finger project has seen Gordon work with the best and brightest of contemporary UK jazz, with the release of a three track EP earlier this year and a debut full length slated for release in autumn. In his own words, the core inspiration behind Vibration Black Finger is ‘1970s spiritual jazz with a post-punk attitude’, a perspective seemingly only attainable via the musical path Gordon has taken. This mix comes packaged with the same ethos behind it - a slow-burning, mind-bending assortment of records, individually disparate but collectively coherent, thrown together with the experimentalism of somebody confident in the power of their own selections. Crucially, in the wake of the Black Lives Matter campaign and continuing state violence directed towards black bodies, Vibration Black Finger weaves a topical political message into the mix, featuring songs from Herbie Hancock and Bayeté protesting the 1970 arrest of Angela Davis, and Nikki Giovanni's civil rights poem, 'The Great Pax Whitie (Peace Be Still)'. The inclusion of 'Martin's Funeral' can be seen in equal measure a tribute to Martin Luther King Jr. and Trayvon Martin, while the centrality of spiritual jazz to the mix, as an artistic and cultural movement that developed in the historical and social context of the late 1960s and 1970s, further represents a celebration of black lives and history. The result is a mix for our times, a musical and historical commentary on many of the issues society continues to face today. We hope you enjoy this as much as we do.
Sigha - Techno Derivatives (2015)
Sigha - The Purification Loops (2015)
Sigha - The Purification Loops (2015)