Marc Barreca's Music Works for Industry is a layered assertion. An economic mantra for the mind to spin, like the many loops on this recording, or churn, as gears of some godhead machine. From the pool of playful compositions, a social subtext appears - a somewhat sardonic riposte to the commercial and cynical abuse of music and musicians. Favoring musicians, performance artists, and a bespoke instrument maker over an assembly line, Barreca combines multiple disciplines into a collective, industrious whole for this consumable work.
Visible Cloaks' Reassemblage is a collection of delicately rendered passages of silence and sound that invokes - and invites - consciousness. The foundation of the duo's second album could be described as translingual or polyglottal, working within an eastern / western feedback loop of influence, Fourth World ambiguity, and the universality of human emotion. Vinyl includes high-quality, multi-format download with bonus tracks.
You can see the sounds her voice makes. The literal depiction of this, a photograph of Michele Mercure with an eyeball in her mouth, is removed in the updated album art. The original graphic elements are left to suspend, speak, and sing across time. In the absence of the decade-specific portraits, the redesigned edition is dislocated from a particular or linear history. Our initial point of encounter is artifactual; a trace in place of a scar.
Accordingly, Michele's true image and body is sound. Eye Chant, as a whole, offers meditations of sound as material. Her instruments are voice and synthesizer, the former following the machine’s lead and language of patterns. Machine sounds become abstract words. The human voice is pulled apart, dislodged from context; a tactile, textured quality appears to reconfigure the body and machine presently or permanently.
Syrinx's path veered from the dominant modes of '70s subculture, their version of chamber pop hybridized with wild, whimsical electronic experimentation charting new territory in the under and overground. Formed by composer John Mills-Cockell after the dissolution of Intersystems, Syrinx's two adventurous albums, Syrinx and Long Lost Relatives, endorsed the poetic potential of the avant-garde, subverting a turn of the '60s trend toward technological pageantry. Tumblers From The Vault presents these two albums alongside the trio's unheard music, revisiting the Syrinx story and sharing their memorable, mind-bending melodies. Triple LP version comes with printed inner sleeves, 20 page booklet with extensive liner notes, and a high-quality digital download.
Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.'s intergenerational collaboration series. For this edition, a panorama of the Pacific Coast provides the place and head space for exploratory Buchla synthesizer passages that meditate on a life-giving form vast and volatile with change. LP version includes printed inner sleeve and high-quality digital download of album with bonus track "Retrograde."
BIS001-020 is a compilation surveying the first twenty Beats In Space Records releases. In keeping with the sensibility coveted by Sweeney during his time on air, it's clear what makes these releases harmonious. There's an attitude a little bit rude, but softened with sensitivity. There is a sense of motion narrative and duration; a dedication to crescendo, a theatricality that never yawns. An appreciate for melody, but not at the expense of propulsive percussive textures.
Mikael Seifu's Zelalem is an ode to - and a fearless break from - the storied lineage of Ethiopian music.
The literal Amharic translation of Zelalem is "eternity," and through Seifu's conceptual frame it becomes a "vector of light." Seifu shines this light on the music of his home country while guiding us through an uncharted "Ethiopiyawi Electronic" - a coinage Seifu uses to describe the music he and his peers are producing in Ethiopia's capital city of Addis-Ababa.
Zelalem spotlights the music of Ethiopia's past as well its future. Mikael Seifu illustrates the potential for reinterpreting sacred and proud sources through energized palettes. His latest effort heralds the future of this new music and signals the genesis of Ethiopian Electronic, where the known and unknown commune.
Breadwoman & Other Tales are the collected recordings of a language arising. It is the sound and document of Anna Homler divining speech, lyrical fragments, and melody for music composed, mixed, and engineered by Steve Moshier. It's 1982 and Anna is driving an ocean blue classic Cadillac to meet renowned poet and playwright Deena Metzger in Topanga Canyon, Los Angeles. Passing a non-descript desert patch where tall wheat and mustard flowers grow, Anna opens her mouth and sings in a salient stream of rhythmic, melodic sound.
Breadwoman is born, but not by immaculate conception. For Homler, performance art had recently become "a form big enough to contain everything happening" during her studies with Rachel Rosenthal at Otis College of Art and Design. As this performative freedom fed into the enchanted vocalese,the character of Breadwoman emerged. Homler tread the same multi-disciplinary waters where Steve Moshier and the Cartesian Reunion Memorial Orchestra (CRMO), a communal avant-garde urban chamber music ensemble formed in LA in 1979, floated. When their currents connected, it was clear Homler and Moshier were kin, crossing genres through intensely physical de-significations of music: quasi-theatrical, fully mythic, ritualistic performances.
Instead of confining Anna as "a vocalist," Moshier recognized Anna's voice as a sonic element. To accomplish the recordings of this collection, Moshier chose the least song-like material from Homler's handheld cassette transcriptions and composed music considerately. Anna would then record chants and song variations which Steve would tweak for final touches through his arsenal of analog equipment.
Although Breadwoman stands outside of time, she is is rich in the ingredients of 1980s Los Angeles performance art, renegade DIY punk, gallery culture, galvanized jazz, underground cassette-trading culture, drag extravaganzas, and esoteric meaning-making mysticism. Breadwoman is a storyteller - she's so very old she's turned into bread. Breadwoman says: If you don't try to understand, you will. She is the voice, and the voice is cosmic reality's musicality. Through Breadwoman & Other Tales, we hear material meet mythos.
Before the actualization of Bing & Ruth's halcyonic opus Tomorrow Was the Golden Age, there was City Lake. This newly remastered version of the 2010 limited edition album features David Moore leading an eleven piece ensemble through a greater gamut of rhythmic materials while tracing the ambient tract that appeared in tomorrow's horizon.
Double album includes printed inner sleeves and a multi-format download code featuring three bonus tracks. CD version includes three bonus tracks.
We Are Not The First features the interstellar ensemble of Marshall Allen, Daniel Carter, Greg Fox, Shelley Hirsch, Shahzad Ismaily, Elliott Levin, Rafael Sanchez, and Ben Vida directed in deep dialogue through humans' hidden sound history by Jamal Moss aka Hieroglyphic Being. Hieroglyphic Being & the J.I.T.U. Ahn-Sahm-Bul demonstrate that vitality lives in its collectivity and a sonic-consciousness exists somewhere in the primordial ooze.
Artificial Dance chronicles K. Leimer's complete collaborative venture as Savant and explores the unpredictable alchemy of music made in chance environments. For fans of Brian Eno & David Byrne's My Life in the Bush of Ghosts, Artificial Dance is a revelatory document of tape spliced funk, fourth-world foraging, and nonconformist musical ethos colliding.
Persuasion is a trio of new tracks by Blondes. The duo's first offering since Swisher, Persuasion furthers the extemporized themes explored on that album but reveal Sam Haar and Zach Steinman to be as dexterous in the studio as they are at motivating live, primal techno.
With Haar and Steinman no longer living within earshot of each other, the distance has inspired a new work ethic. In the creative incubation since Swisher's release, the duo's improvisational practice honed live in club settings has evolved from excursive to immediate and exacted.
The engine of Persuasion is fueled by kinetic textures and decisions. Melodies follow unpredictable paths and flare into spiraling percussion. Soundssimultaneously rise and crash entering and exiting the different track environments. Still, the groove remains true, a grounding technique.
Space and time have refined Blondes blend of live dynamics and studio discovery. What sets Persuasion apart from their prior records is the sense of Haar and Steinman's maturation behind the controls, yielding more propulsive, assertive, and persuasive forces than ever.
Nite-Glo is the new offering from Stellar OM Source, the outré-minded music venture of Christelle Gauldi. Tempering the freneticism unleashed on Stellar OM Source's 2013 album Joy One Mile, Nite-Glo guides Gauldi's rhythms to unexpected places of emotive and meditative power.
The four tracks of Nite-Glo were written during a transient time for Gauldi. Loss and processing the associated emotions informed those moments in which Gualdi could escape to her mobile studio set up. Recorded solely with her live hardware, Nite-Glo tears down any ornamental tapestry to uncover a core of luminescent synths, glowing 303 lines, and a burning awareness.
Nite-Glo continues an off-script musical journey informed by Gualdi's formal training in electro-acoustic composition at the Conservatoire de Paris and an ascent from the DIY synth scene of the mid-aughts to a global dancefloor. Rewarding listeners keen on conscious listening, the passages of Nite-Glo crystalize as tracks unfurl and sequences reveal an absolute power over time.
Transcending its cathartic context, Nite-Glo finds Christelle Gauldi abstracting the ebullience of Stellar OM Source's sound in favor of remote spaces and roiling tempos. A snapshot of Gualdi's personal and creative transition, Nite-Glo beams through a mournful context, visible only as eyes have adjusted in the shadows.
For the twelfth volume of FRKWYS, Robert Aiki Aubrey Lowe and Ariel Kalma offer We Know Each Other Somehow. Recorded outside of Mullimbimby, a remote community on the eastern Australian coast, the album pairs two synth voyagers for six extended evocations of environmental ambience and entrancing naturalism. Accompanied by Sunshine Soup, a feature length documentary based on the intergenerational collaboration, We Know Each Other Somehow summons another world in an otherworldly part of the planet.
Kai Hugo works in two guises. Palmbomen is a group-oriented collaboration suited for live dynamics and instrumentation, while Palmbomen II is geared toward solitary production with an austere toolset: classic sequencers, time-tested drum machines and their contemporary counterparts. Hugo's foray as Palmbomen II makes its debut on Beats In Space Records with the eponymous full-length Palmbomen II.
An Evolutionary Music (Original Recordings: 1972 - 1979) compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalma's work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde.
Ariel Kalma's boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations. Kalma's story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, An Evolutionary Music offers the imprint of an outright auteur.
Tomorrow Was the Golden Age is an album length composition by minimalist ensemble Bing & Ruth. Written and conducted by pianist David Moore, Tomorrow Was the Golden Age is a halcyonic journey to a neverending place, where music waxes, wanes and drifts imperceptibly from silence to grand, glowing sound.
The players on Tomorrow Was the Golden Age are David Moore on piano, Jeremy Viner on clarinet, Patrick Breiner on clarinet, Mike Effenberger operating tape delay, Leigh Stuart on cello, and Jeff Ratner and Greg Chudzik on bass, respectively. The album was recorded in Yonkers, New York and mixed in Brooklyn, with Brian Bender and Moore at the controls. Intended to be experienced at both high and low volumes, Tomorrow Was the Golden Age is perfectly calibrated for meditative backdrops, burrowed headphone listening and utter captivation when performed live. Its sonorous palette inspires emotional response across a dynamic field, welcoming a journey to and beyond tomorrow's promise.
Craig Leon's seminal synthesizer albums Nommos and Visiting are finally re-editioned in definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.'s archival series.
For the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving, radiating legend Mike Cooper in Lisbon, Portugal. A tranquil interlude for these two travellers to create off-guard improvisations in their shared style of deconstructed guitar music, Cantos de Lisboa is a curious detail in the periphery of their snapshot of Portugal.