Brainiac began in 1992 as the basement experiments of Dayton, OH natives Tim Taylor (vocals, synth), and Juan Monasterio (bass), who first met playing cello in fifth grade. Upon completing the lineup with Michelle Bodine (guitar) and Tyler Trent (drums), they released two full-lengths and toured vigorously, establishing themselves as the latest peg in Ohio’s diverse musical timeline. In 1994, Michelle left the band and was replaced by John Schmersal. After recording a 7” with Steve Albini for Sup Pop, the band recorded a handful of songs with Kim Deal (of The Pixies), which became their Touch and Go debut single Internationale.
1996 saw the release of their Touch and Go debut, Hissing Prigs in Static Couture, and saw the band use less Moog and more random electronic gadgets and noisemakers. Jim O’Rourke produced 1997’s Electroshock for President EP, in which Brainiac continued their transition into a more electronic rock band. They began to receive serious interest from major labels. On May 23, 1997, however, only weeks after the EP’s release and the band’s return from a European tour supporting Beck, Tim lost his life in a car accident in his hometown of Dayton, Ohio. He was 28
Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura - seen, felt, emitted - on his sixth album and second for RVNG Intl. This Is How You Smile derives from Jamaica Kincaid's "Girl," a story she wrote in the form of a mother’s sole, complicated, but loving voice, speaking a "How to" litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.
Light Conductor is the twilight slow-burn modular synthesis duo of Stephen Ramsay (Young Galaxy) and Jace Lasek (The Besnard Lakes). The pair have been kicking out these slow jams for years, in between their separate touring and producing duties, and have decided it's time to share. Sequence One is their first album: a warm shimmering sonic hug of enveloping drone and hypnotic arpeggiation flowing along buoyant filter-sweeping eddies and waves. Gently immersive like a saltwater bath under a starry sky, Light Conductor make nighttime/sunrise music in widescreen high-fidelity at their vintage-equipped Breakglass Studios in MontrÃ©al, pinning the pre-amps with stately, slowly shifting synth tones, stereophonic squelches, and pink noises. The seasoned producer-engineers marinate their mixes in slow-cooked analogue glaze, balancing spacious sound-staging against sumptuous saturation, bringing these studio sensibilities to bear on this profoundly mellow, atmospheric and satisfying music of slow inexorability and simplicity. Limited edition vinyl version is 333 hand-numbered copies in hand-printed silkscreen jackets with metallic bronze and opaque white ink over Ming Blue velllum-finish uncoated art stock paperboard.
First pressing of 500 copies of Sequence One by Light Conductor on audiophile 180gram vinyl from Optimal (Germany) comes in a thick 24pt jacket and with 12”x24” art print poster, both spot printed in blue and metallic gold inks on uncoated papers and boards, with inside of jacket also spot printed in gold.
I'd Rather Be Lucky Than Good is a new recording collaboration of Sam Ashley and Werner Durand. Sam Ashley's mystic parables imbued with benevolent humor are drawn from a lifelong pursuit of a present-day shamanism. Werner Durand's wind work on invented and traditional instruments stems from the minimalist tradition, routed through his unique study of obscure world musics.
The two artists first met in Berlin in 1984 while Sam was touring Atalanta with Robert Ashley's opera company, with whom he was a principle vocalist for many years. Sam Ashley's work has appeared on other Unseen Worlds releases (J. Jasmine: My New Music) and in solo and collaborative performances alongside "Blue" Gene Tyranny and other artists across the world.
Werner Durand, also active since the late Seventies, performs music for saxophones, Iranian ney, and self-made wind instruments. He is a linchpin figure in the experimental music scene in Germany and abroad following formative studies with Ariel Kalma and Gilbert Artman in Paris, Indian Classical Music with Kamalesh Maitra, and Iranian Ney with Ali Reza Asgharia. He has worked notably with David Behrman (Music From Memory), Arnold Dreyblatt (Animal Magnetism), Muslimgauze, Henning Christiansen, Catherine Christer Hennix, David Toop, and Amelia Cuni.
Stella Donnelly is a proud, self-proclaimed shit-stirrer. On lead single "Old Man," the biting opener of her electrifying debut album, Beware of the Dogs, she targets the song's titular creep, "Oh are you scared of me old man or are you scared of what I'll do? You grabbed me with an open hand. The world is grabbing back at you." When something needs to be said, whether it's to an abusive man, a terrible boss, or a clueless significant other, the 26-year old Fremantle, Western Australia-based musician is fearless in telling it like it is. Delivered entirely with a sarcastic wink and a full heart, Beware of the Dogs proves across 13 life-affirming songs the power in sticking up for yourself, your friends, and what's right.
The album showcases an artist totally in command of her voice, able to wield her inviting charm and razor-sharp wit into authentically raw songs. It's a resounding statement of purpose in recent memory and most importantly, it's a portrait of Donnelly taking charge. She says, "this album made me feel like I was back in the driver's seat. It was really liberating and grounding to realize that no one can fuck with this except me."
In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos-the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album The Devil You Know . The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It's a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. "The writing process was done with an open heart," says guitarist/vocalist Julia Kugel. "Everything that came before had to go away. And we started there, at ground zero." With each album, you could hear the individual songwriters honing their style. But with The Devil You Know , it feels like we’re hearing the first Coathangers record written as a true unit.
A hero’s quest worth of staccato synths, crack house Casios, off-brand drum machines, minimal Morricone, four-track fantasia, and a variety of other speculations on what the 1980s thought the future would sound like. Packaged in a 12”x12” Nintendo Entertainment System-styled jacket, replete with game sticker, die-cut outer sleeve, debossed cartridge inner sleeve, and art from our first video game, playable from the comfort of your PC.
On Time Out of Time is a suite of works originally commissioned for the 2017 installations 'ER=EPR' and 'Orbihedron'by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for theexhibition, 'Limits of Knowing' at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, amongother things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-WaveObservatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CDand Digital formats feature two tracks: The 40-minute title track, "On Time Out of Time," as well as"4(E+D)4(ER+EPR)", a live track recorded during the aforementioned installation. The vinyl LP format features twoexclusive mixes of the title track: "On Time Out of Time" on the a-side; and "On Time Out of Time (The Lovers)" onthe b-side, made especially for the vinyl format.