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Jim Strong is a visual artist, painter, performer & experimental instrument builder. Until now his music is released on respectful labels like Vitrine and Crisis Of Taste. He is the one half of Melkings, a collaborative group with T.D. & founder of the experimental label Cor Ardens.
im Strong’s music is characterised by a structural complexity, combining amorphous instrumentation and spoken words. His handcrafted instruments, that looks more like artifacts or sculptures, reproduce a big variety of cracking noises, broken electronics & drone sound effects. The outcome is a poetic mix, consist of free improvisation, crank-based mechanisms and sound poetry. Voluntary Letters are probably his most exciting work by Jim until now. This release includes eleven tracks, who successively structure an interior mystery play between paraphernalia & human soul
More Mars, 2021
JIM STRONG – Voluntary Letters
Alexandra Spence and MP Hopkins are sound makers living and working on Gadigal land in Sydney, Australia. Using foil, flutes, tuning forks, tones, tapes, tiny bananas, stones, mouths + more, their work explores the spatial and sculptural elements of a practice in experimental sound. Their debut release, The Divine For Me Is Whatever Is Real, was recorded on the cusp of Spring one evening in 2020, at Tempe Jets; a disused sports club hall in Sydney. During this session, a stationary pair of room microphones were encircled by tables of objects, speakers, instruments, and actions. Additionally, Spence and Hopkins shared a pair of in-ear binaural microphones that they roamed the room with, taking turns to inspect up close, and from afar, each other’s sonic activity. The result is a document that moves through states of amorphous sonic density, rattle and clunk, magnetic drift, and instrumental sounds both trill and tentative. The album’s title is borrowed from Clarice Lispector’s The Passion According to G.H.
Alexandra Spence & MP Hopkins – The Divine For Me Is Whatever Is Real
T.D. is the personal sound project of Thomas DeAngelo, based in Philadelphia, USA. Sound collages, field recordings, improvisation, noise.
"Melk Extracts" track feat Jim Strong, Allen Mozek & Stew Skinner.
Recorded Between 2016-19, All recordings Thomas DeAngelo Mastered by Moras Marios
released May 15, 2021
T.D. – Standing Water
Italian sound artist Ezio Piermattei is an active musician since 2010, releasing works under different aliases like Autopugno, Hum Of Gnats, Poisucevamachenille. In 2014 he started releasing music under his real name, through labels like Chocolate Monk, My Dance The Skull, Steep Gloss and through his own Tutore Burlato label. His "From Afar It Looks Like An Oriflamme" captures some of the most delicate compositions by him. Detailed narratives are mixed with a big variety of field recordings, object and instrument sounds, as well as tapes. Ezio Piermattei delivers us two long compositions, with a cinematic point of view, humour and sound detail.
--- "From Afar It Looks Like An Oriflamme" released on 80 numbered cassettes.
Artwork by Agata Mastered by Moras Marios.
Ezio Piermattei – From Afar It Looks Like An Oriflamme
Brandstifter: field recordings, voice mails, sound poetry snippets, German and English poems, streams of consciousness and ad hoc philosophy, Casio tunes and loops all from dictaphone Diurnal Burdens: homemade twin walkman tape looper, dictaphone, mobile phone field recordings, multi track loop pedal, modular synth, evil moisture chopper/masher, effects pedals
Collages by Ross Scott-Buccleuch & Brandstifter Master by Moras Marios
Released More Mars, 2021
Brandstifter & Diurnal Burdens – Manchmal Auch Nicht
Human Heads are an electro-pop sprechgesang duo from Glasgow. Human Heads deliver a whopping sensory twofer; a vial of fragrant oil for your proboscis and six doses of throbbing-synth-extrusions and poetry-speak-sung for your inky flappers. On listening, it’s the overall heaviness what mugs you first – narrative and synthetic. ‘You shouldn’t have met’ is a slice of crafty street recording, school kids on the blab rapping on death, that’s soon dive-bombing deeply like Sabbath picked up a couple of Korg SB-100’s rather than them dirty guitars. As the tracks unspool we follow stories (possibly reflections, possibly prophecies) on the full-body foxtrot and crucifixion. Pixelated piano is preceded by the delighted squeaking of a small child, a train’s rhythmic rattle and Scott Joplin’s entertaining hands. R.D. Laing is in a nostalgic mood so things end with the sort of dry-rot clunk Kanye would have chipped a tooth for on his self-titled Yeezus opus.
Ben Ellul-KnightHannah Ellul
They reverberate,they also absorb dregsthat came from our teenage diversionsCold and stony, the rubbery shadowBrought to lifeWith a whiff of a dank man-made holeAnd now a brightnessFeels higher and more determinedFuller now, gathering to block out extraneous letters, sightsMy own fingers trawling and trailinglips overstretchedRid the flavours from the mouthA narrative fading - goodMetallic churning // reaching out,receding again and overlaid with a negative etchingTryingA breathing cogNot circular but returning// familiar but not minea sweet spot between nape, pit, popper, pear //TryingA breathing cogNot circular but returningDo it with your eyes closedForA sweet spot between now, then, the rear of a dreamTrapped Doppler,Metal is cooling, becomes corkyLips overstretched, adjective snatchedSucked and blownTo reach equilibrium //Thinly domestic nowA drawn out teeter I can no longer perceiveBut it came from somewhere massive and hardA slow shock// A pattern cut from a metal sheetand now it’s on the movelays itself down over spoken undulationsuntil they form a new pattern, called a beat //received, pressing, driving,old and flammablesneaked up from within a refrigerated boxanother slow, pleasant shockThickly domestic now as we sinkSurvey the scatterManipulate the jointTiny and early, the echo ate its tailRebecca Wilcox
Fractal Meat Cuts, 2021
human heads – in the afternoon
Issued somewhere between Mica Levi’s emergence in 2008, and their recent gush of solo and band releases with Curl and Good Sad Happy Bad, Mica wrote and recorded ‘Feeling Romantic Feeling Tropical Feeling Ill’ around about the time they were receiving award-nominations and resounding acclaim for their soundtrack to Jonathan Glazer film, ‘Under The Skin.’ Naturally it shares some of that OST’s tones and moods, but the results are far more febrile, lush rather than dark and tense, stitching together a tapestry like mixtape-cum-production showreel of curdled chamber pieces, shrugged hip hop, ambient flights of fancy and gorgeous snatches of strings recalling the intervals of Carl Craig and Derrick May’s seminal ‘Relics’ set going into what sound like early sketches for what would become Tirzah’s ‘Devotion’ album a few years later.
Replete with new, minimalist artwork symbolic of the album’s enigmatic nature, the record’s second wind is arguably ideally timed for the world’s current state of torpor and tentative anticipation, with 60 minutes of figurative, quietly perplexing, evocative melodies that work by inference as opposed to ever beating you around the head with a message. It’s peppered with some exquisite, often unexpected moments that arrive and recede into its matrix with uncanny logic that perhaps comes as close as you’ll get to living inside Mica’s iridescent, endlessly intriguing mind.
MICACHU – Feeling Romantic Feeling Tropical Feeling Ill
Gnarly, ruff cut up sounds from actually cut up flexi discs. Direct to 4 track from Brighton's garbled gonk purveyor Duncan Harrison. No mercy!
Released on Robert Ridley Shackleton's Cardboard Club
Duncan Harrison – Music From Amplified Flexible Discs
Collage for found text 2018-2020
Voice – Claire Bloom, Daffy Scanlan, Duncan Harrison, Josh Peterson
Regional Bears, 2021
Josh Peterson – Area of Refuge
Another mindblower from the camp of Regional Bears.
Vanessa Rossetto is an American composer, improviser and painter. She uses primarily chamber instrumentation, field recordings, electronics and a wide array of different objects exploring them through extended and traditional techniques and other methods of her own devising
Regional Bears, 2021
Vanessa Rossetto – Legends of American Theatre
Truly spannered churned out gunk from the mind of Duncan Harrison.
Could possibly be the best Duncan Harrison release to come out in the last 12 months
Duncan Harrison – fires.serif.
Yong Yong tap into some “Torraye Braggs shit.” Downtempo signals, ghetto tech jibber, skull caps under knit beanies, hacky sack. A kind of pan-ethnic cooking analogy comes to mind: a plume of brown spices, melodies like foreign legumes. Fire up Dr. Sammy Sample and reappropriate whatever, basically. Smoothness is definitely not a priority – don’t save this for your BeatsByDre. I use cellphone speakers and let the bass snap like a baby carrot. B-side trades in ADD groove splicing for an extended trip. Less cut-and-paste here; more long-form four the floor. Things melting into other things. For the dancefloor in your day spa.
Goaty Tapes, 2015
Yong Yong – Meet Lord Prince 'I'nfinito
In A Bog is a series of electro-ambient vignettes strung together like faded raver beads. Wobbling synths, plastic hand drums, and garbled signals slide in an out of focus. Cockeyed rhythms swirl into mellow atmospherics. Doofy samples bubble up from the bottom of the Internet. Beat Detectives hijack body music, cut it up, slow it down, and put it back together like Frankenstein with arms for legs.
Goaty Tapes, 2019
Beat Detectives – In a Bog
Heavyweight Tag-Team split tape from Outclub and DT Dream. Embodying the adrenaline of challenging for the Princess of Princess Title and the comedown of losing. Zoned out beats drowning with tears and exhaustion. Gltichy Idol music through the ambience of a Joshi locker-room.
First relase from Manchester label Profound Mystery
---Released May, 2021
outclub x DT Dream – East-West Gacha Master
The third Beatle's cover and acoustic guitar feedback album by Shanghai guitarist MAI mai.
Final episode of Shanghai based guitarist MAI mai's Beatles song book series. Recorded in Shanghai, autumn 2020. Compared to Vol. 1 and Vol. 2, in this recording session MAI mai used different instruments and approaches to making this album.
MAI mai used:Gibson l-48 acoustic guitar AER compact 60 amp Shure sm-57 mic Hewlett-Packard 3312a Function Generator Bruel & Kjaer Type 2113 Audio Frequency Spectrometer
Released: Zoomin' Night
Released January 28, 2021
Art design by: Liu Lu
卖卖 MAI MAI – MAI mai plays the Beatles Vol. 3
Leila Hassan and Francesco Cavaliere’s Sea Urchin blow new age kisses and woozy thought bubbles about Egyptian martial arts in a Arabic and Italian over crimped cubist computer dub and ambient styles
Tahtib is food for your mystical post-exotica musical landscape - hand drums played by computers fall with a squelch into the swamp, horses neigh at dub bassists, there’s water everywhere full of urchins and tarot cards and just when you think you need to breathe this record breathes for you. Tahtib’s future ambient glyphs are matched with the rapid-fire staccato "taks” of imaginary tahtib sticks (tahtib is an Upper Egyptian martial art which was enjoyed and practiced by Leila's grandfather Baba Aly). Leila Hassan sings seamlessly between Arabic and Italian (and possibly more) breathing pure soundart alchemy across Francesco Cavaliere’s library of sound effects and textures. You remember Sea Urchin? They added their signature aquatics to Osaka-native 7FO’s 7” for Bokeh back in 2017. The duo of Leila Hassan and Francesco Cavaliere debuted a totally unique expression of ‘library music as future music’ on a series of small run cassettes before their proper debut LP Yaqaza was released on legendary Belgian imprint Kraak (Pan American, Limpe Fuchs, Typhonian Highlife). This caught the ear of Bokeh designer svengali Patrick Savile, who adds his vision to the LP cover. Francesco has also released solo explorations on Hundebiss (Kelman Duran, Lil Ugly Mane) and Edições Cn (Dolphins Into The Future).
Sea Urchin are Leila Hassan and Francesco Cavaliere Recorded and mixed by Francesco Cavaliere Design by Patrick Savile
Bokeh Versions, 2019
Sea Urchin – Tahtib
Crystalline music miniatures composed using numerological games and abstract metronomes.
“The basis for Cavaliere’s music is derived from the prowess of his imagination, which at a young age was stimulated by a gift, given to him by his grandma. “At a very young age, my grandmother, who was a music teacher, gave to me a cassette record player. And as I was an only-child, I would sit in my room alone, and have conversations with the record player and my pre recorded voice. I communicated with it.” (Spencer Clark)
Recorded between Berlin and Bruxelles March - April - May 2020
Self Released, 2020
Francesco Cavaliere – ALATA ONDA
SUIKINKUTSU- "water harp cave".
A Japanese garden ornament used for its water drop sounds. Similar to metal wind chimes this device uses echoes from water to produce a calm zither like tinkle SOZU - A traditional water fountain made of a bamboo tube that fills with water to produce a clanking sound. Recorded Jan-Sept 2020 in Dowkabottom Cave in the Yorkshire Dales UK, using tin cans, kettle, saucepans, dustbin lid, metal plates, metal food bowls, cake tin lids, various gongs, chime bars, singing bowls and bells and swarmandal. --- An immersion in the elements and processes of the natural world, the sound of natures patterns and human responses. Made during a time of great personal change and upheaval, as well as major events in the wider world. With Suikinkutsu the aim was to discover more about the worlds beauty and wonder. By connecting with the land I connect with... more' - Stuart Chalmers
Released: Fractal Meat Cuts, April 20, 2021
Stuart Chalmers – Suikinkutsu 水琴窟