Search results for "legendary pink dots"
"legendary pink dots" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| BALDRUIN |
Vergessene Träume |
LP |
musically the most 'accessible' LP of BALDRUIN so far, a strong melancholic undertone is present on all of those 13 miniatures, that could form together a long forgotten introspective film soundtrack from the 70's, often based on ancient sounding synth-patterns and sequencers, but there also acoustic instruments used and more playful and surrealistic elements... imagine the intimate melodic moments of LEGENDARY PINK DOTS or TANGERINE DREAM, appearing in an odd dream.. lim. 250
|
2018 |
€15.00 |
 |
| ORIGAMI GALAKTIKA |
One |
CD |
after many years a full new album by the man who formed the ORIGAMI-network in Norway and played hundreds of shows around the globe, mainly as ORIGAMI GALAKTIKA, => "One" consists of material from 2006 & 2014, refined deep & ethno ambient where everything drowns in long archaic drones, echoes and metallic/acoustic sounds, reminding on projects as HYBRYDS or RAPOON.....great comeback! mastered by RAYMOND STEEG (ex LEGENDARY PINK DOTS)
|
2014 |
€12.00 |
|
| PALMER, AMANDA & EDWARD KA-SPEL |
I can spin a Rainbow |
do-LP |
first full collab album by the DRESDEN DOLLS and LEGENDARY PINK DOTS singers who appear here like twin-siblings with their expressive, psychedelic song-writing full of emotion and pathos and wonderful violin playing by PATRICK WRIGHT.. "Light a candle in a dark room and wrap up snug; this is a haunted house of a record - the album blends storytelling, poetry and lyricism with a wide range of soundscapes." [The Skinny] the vinyl-version has two bonus tracks not on the CD, and a download code
|
2017 |
€27.50 |
|
| |
I can spin a Rainbow |
CD |
first full collab album by the DRESDEN DOLLS and LEGENDARY PINK DOTS singers who appear here like twin-siblings with their expressive, psychedelic song-writing full of emotion and pathos and wonderful violin playing by PATRICK WRIGHT.. "Light a candle in a dark room and wrap up snug; this is a haunted house of a record - the album blends storytelling, poetry and lyricism with a wide range of soundscapes." [The Skinny]
|
2017 |
€17.00 |
|
| PEPE WISMEER |
Le Stridor de l'Escargot |
LP + CD-R |
very limited new album by the French melancholists, very emotional songwriting full of burning pathos, has been compared to COIL & LEGENDARY PINK DOTS.... pressing of only 100 copies, comes with bonus CDR
|
2013 |
€20.00 |
|
| RICHTER SCALE |
A Ripple on the Richter Scale - Parts 1 & 2 |
do-CD |
RICHTER SCALE was the project of LEGENDARY PINK DOTS main members EDWARD KA-SPEL and SILVERMAN with MICHEL LEROY - they released one rare cassette, recorded in Chile in 2008; this first CD re-issue has a full disc of bonus tracks.. lim. 120 copies only, Hongkong import
|
2021 |
€29.50 |
|
| SILVERMAN |
State of Union |
CD |
lim. 500, numbered & signed; PHIL KNIGHT from LEGENDARY PINK DOTS, this is probably a re-issue of the self-issued CDR from 2001 (Teka 006)
|
2007 |
€15.00 |
|
| SORRY FOR LAUGHING |
See It Alone |
CD |
incredible project with three of our all time artists involved: WILLIAM SHARP ( BIOTA), MARTYN BATES (EYELESS IN GAZA) and EDWARD KA-SPEL (LEGENDARY PINK DOTS), plus more guest musicians - on 12 tracks they create minimal melancholic "folk" songs based on synth piano & organ, accordeon, violin, with some nice experimental sound effects and tricks, and often vocals.. - "This album is a gift that moves for its simplicity and intimacy" [LOOP]
|
2021 |
€15.00 |
|
| THE STONE TAPES (PINK DOTS, BIG CITY ORCHESTRA & FRANS DE WAARD) |
Revolutions in the Head |
CD |
a unique experimental ensemble "live in the studio" recording by members of BIG CITY ORCHESTRA (DAS and NINAH PIXIE), LEGENDARY PINK DOTS (EDWARD KA-SPEL and PHILIP KNIGHT) and FRANS DE WAARD (BEEQUEEN, KAPUTTE MUZIEK, FREIBAND, MODELBAU, QUEST and countless other projects..), improvised at LPD-studios in Nijmegen 10/2018; 7 pieces between daring experiments and trance-inducing strange drones.. ed. of 300 copies
|
2019 |
€13.00 |
|
| TOY DIVISION |
Cute |
LP + 7inch |
re-issue of the (much sought-after) only cassette release (1983) by this Australian electronic duo from Melbourne, plus more rare cassette-only material on the 7" => minimal rhythmic sequencer electro industrial / wave / pop with vocals and free floating melancho synth patterns, sometimes more experimental.. CABARET VOLTAIRE meets (very early) LEGENDARY PINK DOTS? - lim. / numb. 500 copies, full colour inlay & certificate
|
2020 |
€21.50 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
Lust from the Underworld |
do-CD |
comp. dedicated to "Love & Eros in mythology, symbolist & decadent art". With JACK OR JIVE, CHAOS AS SHELTER, MONDBLUT, LEGENDARY PINK DOTS, ONE INCH OF SHADOW, MUSTERION, 4th SIGN OF THE APOCALYPSE, etc ...lim. 500 with beautiful art design & big booklet w. 30 "bizarre erotic pictures" |
2004 |
€22.00 |
|
|
MOM |
CD |
Godspeed Mom! Tribute & benefit compilation for Chris Mc. Beths (label owner) mother Jeanine with exclusive material only; NURSE WITH WOUND, LEGENDARY PINK DOTS, VOLCANO THE BEAR, NADJA, LA STPO, TROUM, ANDREW LILES, EARTHMONKEY, and many others from the label; comes in thick oversized cover
|
2009 |
€13.00 |
|
|
Twisted Cabaret Vol. 1 |
CD |
compilation with "New Cabaret" influenced music & acts "using, altering or diverting the codes and rules of Weimar Cabaret": TIGER LILIES, BABY DEE, DRESDEN DOLLS, RESIDENTS(!), LITTLE ANNIE, DE KIFT, LEGENDARY PINK DOTS, ARANOS, and many more
|
2010 |
€14.50 |
|
| |
70 Years of Sunshine |
do-CD |
compilation dedicated to the 70th anniversary of the first LSD trip through ALBERT HOFMANN => a follower to the famous "50 Years of Sunshine" from Silent Records 20 years ago, now again curated by KIM CASCONE; experimental, droney, impro, psychedelic soundscapes & tracks by: MAKOTO KAWABATA, R.A. IRISARRI, LEGENDARY PINK DOTS, ANDREW LILES, RAPOON, ROBERT WHEELER (PERE UBU), MIRT, and many, more unknown acts + nice liner notes... a must have if you are experienced !!
|
2013 |
€16.00 |
|
| ASVA & PHILIPPE PETIT |
Empires should burn... |
CD |
"Philippe Petit and G. Stuart Dahlquist first came together when Petit’s Strings of Consciousness project opened for ASVA in Paris. The two quickly discovered a profound likemindedness and decided to combine their creative forces and see where that could take them. The pair, each with their own unique and seemingly infinite brand of creativity, formed a unique partnership. However, as Philippe and ASVA both have a long history of interesting collaborations, they decided to bring some guest vocalists to the project. Edward Ka-Spel (Legendary Pink Dots), Jarboe (Swans), and Bryan Lewis Saunders all lent their voices to this album. After a few months of dialogue and collaboration, “Empires Should Burn” was completed and ready to be released into the world." [label info]
www.bassesfrequences.org
|
2012 |
€8.00 |
|
| BEEQUEEN |
Sandancing |
CD |
BEEQUEEN sind mit "Sanddancing" ganz im "Song" angekommen, einer Art elektronischer "Ambient Pop" der ein Spektrum von kitschigen Kindermelodei-Stücken bis hin zu verschrobenen Instrumentals umfasst, mit weiblichem Gesang, irgendwo zwischen alten BRUNNEN, PIANO MAGIC und LPD, charmant, verträumt & luftig leicht, ohne experimentelle & geräuschhafte Elemente ganz zu verbannen...
"After the by now usual gap of some two years, Beequeen is ready to present their latest album, further maturing their sound from The Bodyshop (also on Important Records). More song-based, this album features new vocals by Olga Wallis solely (with some backing by Freek Kinkelaar). Well rounded pop songs in some places, but Beequeen never forgets to put in some strange element, without leaping in the dark alley of pointless experiment. Orchestral in 'The Illogical Song,' collage like in 'The Edie Three Step' or a simple rhythm machine in 'The Honeythief.' Beequeen does all, and with great care and seemingly ease. This album features also the help of Barry Gray, former (and first) guitarist of The Legendary Pink Dots, and would not have been the album that is without the invaluable productional skills of Erik Drost." [press release]
"Beequeen is the long running collaboration between Dutch music veterans Frans de Waard and Freek Kinkelaar. The duo mainly focused on ambient and industrial music during the nineties, until their album 'Ownliness', back in 2002, which marked a more or less radical break with Beequeen's past. Since 'Ownliness' the music of Beequeen has shifted to well crafted electronic pop songs. 'Sandancing' is no exception. It's an atmospheric and dreamy album due to the beautiful (female) vocals of Olga Wallis.
The songs are built on electronics, guitar and keyboard, combined with fine microsonic details, pulsing drum machines and subtle field recordings. It can easily be seen as a rather accessible record, especially considering Beequeens past, but 'Sandancing' hides enough surprises to keep it exciting. It somehow reminds me of the early works of Piano Magic, the project of Glen Johnson, who also used to work with different vocalists to transform his electronic instrumentals into songs. Being aware of the adventurous approach of these experimental wizards, you immediately wonder what Beequeens next record will be like. But you certainly hope that Olga Wallis will be involved again as 'Sandancing' is definitely their best record to date." [MW, Vital Weekly]
|
2008 |
€13.00 |
|
| |
Sturmwind and Gilbert |
7inch |
"The time has come: Beequeen’s final single “Sturmwind” is now available on Tonefloat records! With this single, surely our most ‘pop’ release ever, comes an end to nearly 30 years of Beequeen. What a beautiful and fun ride this has been, so much we have seen, heard and learned for which we have so many people to thank. Do things really end here? Who knows? As always, I keep working on new material. “Sometimes my arms bend back” – to the future…
Meanwhile, the “Escape” CD, featuring covers of the songs on “Asylum”, the 1985 album by The Legendary Pink Dots will be released soon. It features my solo version of “Golden Dawn” of which I’m actually quite proud😉
THE PRESS BIT: Achtung! Beequeen (Olga Wallis, Freek Kinkelaar and Frans de Waard) goes pop. But Beequeen being Beequeen, it is not pop as we know it. Sturmwind, as the title suggest, is sung in German and probably the first single in history to paraphrase German Dada artist Kurt Schwitters in the chorus of “Du, deiner, dich, dir” from his famous poem An Anna Blume. Couple this with an existentialist lyric about overwhelming all-consuming love at the end of the world and an uplifting melody and rhythm and you end up with the typical surreal-twist that was also present on Beequeen’s latest album “Around Midnight”. The other side of this single tells the story of Gilbert; who hungers for love, but fails to understand what the concept of ‘love’ actually is. Gilbert is set to an 80s shoegazing tune where desperation gets mixed-up with hope. And with this single the Beequeen bids us, after more than 30 years, goodbye. Sturmwind/Gilbert was written by Freek Kinkelaar and Beequeen, produced and mixed by Peter van Vliet (The Use Of Ashes) and mastered by Raymond Steeg. Sturmwind/Gilbert will be out on March 19 as a limited edition 7inch (300 copies) in a numbered sleeve designed by Carl Glover." [Freek Kinkelaar web & label info]
"Achtung! Beequeen goes Pop. Aber da Beequeen Beequeen ist, es dabei kein Pop wie man ihn kennt herausgekommen. Sturmwind ist, wie der Titel bereits suggeriert, Deutsch gesungen und wahrscheinlich die erste Single in der Geschichte die den deutschen Dadaismus Künstler Kurt Schwitters mit seinem berühmten Gedicht An Anna Blume im Chorus "Du, deiner, dich, dir" frei aufgreift. Verbinden Sie dies mit existentialistischen Texten von überschwänglicher, alles auffressender Liebe am Ende der Welt und einer aufbauenden Melodie und Rhythmus und man landet bei dem typisch surrealen Schwung, der auch auf Beequeens letztem Album "Around Midnight" präsent gewesen ist. Die andere Seite dieser Single erzählt die Geschichte von Gilbert; der nach Liebe hungert, aber nicht versteht was das aktuelle Konzept von Liebe ist. Gilbert ist an eine selbstverliebte 80s Melodie gebunden, bei der Verzweiflung und Hoffnung eng beieinander liegen. Und genau mit dieser Single sagen uns Beequeen, nach mehr als 30 Jahren, Goodbye. Sturmwind wurde von Peter van Vliet (The Use Of Ashes) gemischt und produziert." [label info]
www.tonefloat.com
|
2016 |
€9.50 |
|
| DE KLEER, MARTIJN |
Flow |
CD |
Erstes Album des LPD-Gitarristen MARTIJN DE KLEER mit nach texanischer Weite klingenden Folk- & Country-tunes, unglaublich aber wahr !
“Martijn de Kleer (rhymes with "red wine, beware") is the guitarist for the Legendary Pink Dots, and "Flow" is his first solo album. A few hundred copies were sold at concerts during the band's tour of North America last year, after which it was licensed to Soleilmoon for release and worldwide distribution. The music is evocative and atmospheric, built on a foundation of straightforward songwriting and uncomplicated vocal arrangements. Loyal LPD fans will be surprised by the contrast between de Kleer's Spartan approach and the more elaborate constructions that define the Dot's characteristic sound. "Flow" is about nuance and subtle shades, about leaves fluttering in the wind, and the feelings of contentment that come from a simple tune played well. It's a man and his guitar, a few songs and sketches, and your imagination.” [press release]
|
2003 |
€13.00 |
|
| DEAD VOICES ON AIR & SIMON FISHER TURNER |
MzMzLaLaLa |
7inch |
"This single is a double A side and is the first of the DVOA@20 series.
Side A is entitled, ‘MzMzLaLaLa for Peace,’ and Side A is entitled, ‘MzMzLaLaLa Sing-Song-Sing.’
Simon Fisher Turner
Simon had a highly successful career as a child/young hopeful actor, appearing in movie and TV roles from Black Beauty, Tom Brown’s Schooldays to The Big Sleep (re-made with Robert Mitchum). Aged 17 he signed to Jonathan King’s UK Records and released the album “Simon Turner” in 1969. He then discovered tape recorders and ended up playing with the legendary Portsmouth Symphonia with musicians such as Brian Eno.
Simon first worked as a runner on the sets of films by Derek Jarman, before becoming Jarman’s favoured soundtrack composer. Simon’s association with Jarman was lasting and massively fruitful. “Caravaggio”, “The Last Of England” (with contributions from Barry Adamson and Diamanda Galas), “The Garden” (with the Balanescu Quartet), and “Edward II”, were amongst the most innovative film sound projects of the ’80s and early ’90s, most of them surfacing as CDs though Mute. His final film with Jarman was the powerful, poignant “Blue”, where a soundscape recorded by Simon at Eno’s country house, plus Jarman’s AIDs inspired spoken words, stood in for the visuals - only a blue screen was projected. Simon also worked under the name of The King Of Luxembourg and has collaborated extensively. He has released many albums and in addition to his work with Jarman has contributed to numerous other film soundtracks for directors such as David Lynch.
Simon and Mark Spybey first met backstage at a Can concert at the Barbican in London in 1999. They work together, in spurts and fits, under the name MzMzLaLaLa and this single is their first release. They recently played a concert in London together under a railway arch.
DVOA @ 20 Anniversary Series
Since leaving :zoviet-france: in the late eighties Mark Spybey has released fifteen albums as Dead Voices On Air. He’s appeared on over 80 releases in the past twenty years. When the late Michael Karoli, the seminal guitarist, put together a band in the late nineties to celebrate the 30th anniversary of Can, it was Spybey who he asked to help him.. He has made a career out of collaborating extensively with a wide range of musicians, film- makers and visual artists. He was a member of Download and formed Beehatch with Phil Western of Download and Reformed Faction with ex-:zoviet-france: members, including Robin Storey of Rapoon. Between 1992 and 2000 he lived and worked in Vancouver, Canada and has toured extensively around the world with a variety of collaborators including Karoli and Damo Suzuki of Can, The Legendary Pink Dots, Pigface, Michael Rother of Neu! and Dieter Moebius of Cluster. He’s remixed Neu! and Faust amongst others. His has worked with labels such as Kranky, Nettwerk, Soleilmoon Recordings, Invisible, Spoon, Scratch, Cleopatra, Lens and for the 20th anniversary seven inch single series, Tourette Records of Houston Texas." [label info]
www.touretterecords.com
"To celebrate twenty years of existence, Dead Voices On Air, also known to mankind as Mark Spybey, will release a bunch of 7"s in collaboration with people who he has worked with in those years. The series kicks of with Simon Fisher Turner, perhaps best known for scoring soundtracks for the films of Derek Jarman (Caravaggio", "The Last Of England", "The Garden" and "Edward II") and also with David Lynch. he met Spybey at a concert of Can in 1999 and worked together since as MzMzLaLaLa, but this 7" is their first release. I am in a bit in the dark wether this 7" is t45 or 33 rpm, and I decided for 33. One side has an interesting tape collage of sounds and spoken word in a very film noir like style, while the other side ('MzMzLaLaLa Sing Song Sing') is more a pop like track with a very sparse guitar, a wacky percussive sample and a sad voice. This side did less for me, I think, maybe its too short, or perhaps too vague, but the other side is in fact very good. In the future there will be 7's with James Plotkin, Troum, Edward Ka-spel, Cevin Key, Robert Hampson, Robin Storey, Jochen Arbeit, Dave Wright, Ryan Moore and Orbit Service, which me thinks looks a promising series. Great cover too." [FdW/Vital Weekly]
|
2011 |
€10.00 |
|
| GRIM |
Message |
LP |
Grim is the one-man project of Jun Konagaya - formed from the ashes of White Hospital, his legendary early 1980s noise duo with Tomosada Kuwahara - which, accepting a long hiatus in the middle, has bridged the worlds of industrial music, power electronics, and noise for nearly three decades. Belonging roughly to the first wave of Japanese noise, Konagaya is particularly noteworthy among his peers for casting an eye further afield, drawing influences from bands like Whitehouse and SPK, rather than members of his own scene, as well varied reference points as far afield as the traditional folk music of Tibet. That understood, nothing was likely to prepare the context of Japanese noise for what was delivered by his 1987 EP “Message”.
It belongs to a body of three releases created by Grim during the 1980s, including the full length, “Folk Music”, issued by Eskimo Records in 1986, and the EP, “Amaterasu”, released by G.A. Propaganda in 1985. While its two predecessors are brilliant and more or less what you might expect from a seminal artist of Japanese noise, “Message” follows a markedly different path, delving toward the realm of pop and folk via a series of six songs that emit a stronger connection to Daniel Johnson, Syd Barrett, Sebadoh, and Tenniscoats than anything the noise scene has ever produced; it feels like walking through an ancient fairy tale forest, all hazy, magical and slightly eerie.
Dreamy and meandering, drawing on '60s psychedelia, DIY aesthetics, and folky undercurrents, Grim’s “Message” is a masterstroke in underground Japanese pop, pushing radically forward, while challenging the boundaries of the scene to which the project predominately belongs. Following the album’s original release in 1987, Jun Konagaya followed different paths beyond the world of sound, before unexpectedly relaunching an incredibly prolific career, returning to more explicit territories of noise. As such, “Message” remained a coveted, rare artefact of a road less traveled and a window into the diverse talents and temperaments that rest below all of his output.
One of the most distinct and unexpected artifacts of the Japanese scene during the period, rather than the full throttle fury for which it has been widely known, here we encounter the one-man project of Jun Konagaya weaving stunningly beautiful passages within the realm of pop and folk, incorporating elements of '60s psychedelia and Lo-Fi DIY, with Yukio Nagoshi, founding member of the Vasilisk unit, on guitar and percussion and A. Takahashi on vocals, with collaboration and technical support from Tomosada Kuwahara, partner and co-founder with Jun Konagaya of the legendary group White Hospital. First ever reissue of the album furthers these insights, extending the original EP with an entirely new body of noise-oriented reworks by Grim of the original six tracks, effectively doubling in length to a full-length release.
https://urashima.bandcamp.com/album/message
"Hätten die subkulturellen Phänomene, die irgendwann von Juristen und Journalisten als Wreckers of Civilization oder England’s Hidden Reverse bezeichnet worden sind, ein Pendant in Japan gehabt, dann wäre Jun Konagaya alias Grim wahrscheinlich das zentrale Flaggschiff dieser Bewegung gewesen, denn sein Interesse am Abseitigen hatte – in Ansätzen bereits bei seiner Band White Hospital – Züge des okkult-autistischen Dandyismus, die man häufig bei den englischen Kollegen beobachtete.
Nachdem Konagaya bereits einige Erfahrungen mit lärmenden Soundcollagen gesammelt hatte, entdeckte er Mitte der 80er seine Leidenschaft für das Songformat und für eine Art folkigen Pop, der Schrägheit mit gut dosiertem Kitsch verbindet, und so erschien 1986 das heute als heimlicher Klassiker geltende Album “Folk Music” auf Grims eigenem Label Eskimo Records. Zu dessen Nachwehen gehört auch die im Jahr darauf erschienene EP “Message” (ebenfalls Eskimo), die mit einer Handvoll an Gästen eingespielt wurde und jüngst von Urashima Records neu aufgelegt wurde.
Während Grims Wurzeln in der Geräuschmusik in “Folk Music” noch deutlicher zu hören waren, könnte man diese in “Message” eher subtil in einer unterschwelligen Unbehaglichkeit aufspüren, denn rein stilistisch bewegen sich die sechs Stücke fast komplett im Bereich poppig angehauchter Folk-Lullabies, in denen sanfte Gitarrenakkorde und dazu passender Gesang, bei dem nicht immer ganz klar ist, ob man gerade eine Sängerin oder einen Sänger hört, das Bild prägen. Der Opener “Heritage” startet gleich mit Picking und lieblichem Gesang, und schon in diesem Stück fällt in der gefühlvollen Mollastigkeit eine galoppierende Euphorie auf, deren verhuschte Exzentrik durch die launige Trompete gegen Ende noch einmal extra unterstrichen wird.
Jedes der Stücke hat seine eigenen Marotten: Bei “Deep in Meditation” ist es das Zusammenspiel von Walzertakt und etwas, dass wie eine Melodika klingt, bei “Parable & Cole” das Paradox einer lieblich-pastoralen Monotonie als Kulisse intimer Flüsterstimmen. Bei “Mooncalf’s Walz” der leicht verzerrte Moment zu Beginn, der aber recht schnell einer noch fiepsigeren Lieblichkeit die Tür öffnet. Diese erreicht bei “Klara’s Song” den Höhepunkt an Kindlichkeit, und trotz psychedelischer Twangs schwebt über all dem eine 80er Jahre-Stimmung, die sich neben der rauen und sicher gewollt einfachen Klanggestaltung einem Esprit verdankt, den man nicht künstlich erzeugen kann. Man sollte als weitere Klammer aber auch das leicht unbehagliche Element einmal mehr betonen – eine seltsame Weltfremdheit, die sich in den allzuschönen Arrangements bei genauerem Hinhören offenbart und den Eindruck entstehen lässt, dass dieses Idyll nicht nur von Feen und Folksternchen bevölkert ist, sondern ebenso sehr von dämonischem Gesindel.
Heute werden gerne renommierte Sängerinnen und Sänger aus Folk und Psychedelic der Jahre um 1970 genannt, wenn man sich auf Grims hier durchgezogenen Stil einen Reim machen will. Wer allerdings zu Konagayas eigener Generation gehört und mit undergroundigen Songs der 80er und 90er sozialisiert worden ist, hat vielleicht spezifischere Assoziationen, und die können von Strawberry Switchblade über frühe Psychic TV und die Legendary Pink Dots bis zu den ersten folkigen Versuchen von Current 93 oder Death in June reichen – ein merkwürdiges Kuriosum, bei dem ich nie ganz über den Gedanken hinweg komme, wie nah das alles an einem potentiellen Pop-Hype vorbeigeschlittert ist. Interessant und hervorhebenswert ist dabei, das Grim eine solche Musik bereits perfektionierte, als diese auch in Europa erst im Entstehen begriffen war.
Der Wiederveröffentlichung, die diese Songs erneut auf Vinyl präsentiert, sind einige Remixe als Bonustracks hinzugefügt – ultranoisige Versionen, die die Spuren späterer Entwicklungen Konagayas tragen, die aber die süßlich säuselnden Stimmen immer noch geisterhaft im von Lärm erfüllten Raum schweben lassen." [U.S./ African Paper]
"Returning off the back of an incredible run of deep dives into numerous historical contexts of noise, Urashima brings us the first ever vinyl reissue of Grim's legendary 1987 EP, “Message”, now expanded to a full album's length.
One of the most distinct and unexpected artifacts of the Japanese scene during the period, rather than the full throttle fury for which it has been widely known, here we encounter the one-man project of Jun Konagaya weaving stunningly beautiful passages within the realm of pop and folk, incorporating elements of '60s psychedelia and Lo-Fi DIY.
This highly sought-after holy grail of the 1980s underground is issued by Urashima in a limited edition of 199 copies, and won't sit around for long.
Grim
"Message"(LP)
Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise, sculpting a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Already in 2022, they’ve delivered beautiful, ambitious limited edition releases like Controlled Death’s “Death Synth Box”, Merzbow’s “Collection 001-010” and “Hybrid Noisebloom”, as well as Masonna’s “Masonna Vs. Bananamara” and Hijokaidan’s “Zouroku No Kibyou”.
Beginning the label’s final push toward the end of the year is the first ever vinyl reissue of Grim’s legendary, highly sought after 1987 EP, “Message”, now expanded with new material to a full LP in length. An inexplicable hybrid of folk, indie pop, electronic music, and experimentalism, there’s almost nothing like it within the territory and context of sound within in which it rests. A true holy grail of the 1980s Japanese underground, with original pressings commanding crazy money on the collector’s market, this very limited edition of 199 copies is going to be gone in a flash. Don’t sleep!
Grim is the one-man project of Jun Konagaya - formed from the ashes of White Hospital, his legendary early 1980s noise duo with Tomasada Kuwahara - which, accepting a long hiatus in the middle, has bridged the worlds of industrial music, power electronics, and noise for nearly three decades. Belonging roughly to the first wave of Japanese noise, Konagaya is particularly noteworthy among his peers for casting an eye further afield, drawing influences from bands like Whitehouse and SPK, rather than members of his own scene, as well varied reference points as far afield as the traditional folk music of Tibet. That understood, nothing was likely to prepare the context of Japanese noise for what was delivered by his 1987 EP “Message”.
“Message” belongs to a body of three releases created by Grim during the 1980s, including the full length, “Folk Music”, issued by Eskimo Records in 1986, and the EP, “Amaterasu”, released by G.A. Propaganda in 1985. While its two predecessors are brilliant and more or less what you might expect from a seminal artist of Japanese noise, “Message” follows a markedly different path, delving toward the realm of pop and folk via a series of six songs that emit a stronger connection to Daniel Johnson, Syd Barrett, Sebadoh, and Tenniscoats than anything the noise scene has ever produced.
Dreamy and meandering, drawing on '60s psychedelia, DIY aesthetics, and folky undercurrents, Grim’s “Message” is a masterstroke in underground Japanese pop, pushing radically forward, while challenging the boundaries of the scene to which the project predominately belongs. Following the album’s original release in 1987, Jun Konagaya followed different paths beyond the world of sound, before unexpectedly relaunching an incredibly prolific career, returning to more explicit territories of noise. As such, “Message” remained a coveted, rare artefact of a road less traveled and a window into the diverse talents and temperaments that rest below all of his output. Urashima’s first ever reissue of the album furthers these insights, extending the original EP with an entirely new body of noise-oriented reworks by Grim of the original six tracks, effectively doubling in length to a full-length release.
Visionary, wild, and weird, this beautifully produced LP is issued in a very limited edition of 199 copies, and is an absolute must for any fan of Grim, Japanese noise, and '80s DIY psychedelic pop." [Soundohm] |
2022 |
€29.00 |
|
| KA-SPEL, EDWARD |
Lyvv, China Doll |
CD |
"Edward Ka-spel, singer and frontman of The Legendary Pink Dots, may not need any more introduction. Ever since the early 80s' the Pink Dots are an unqiue group, that blend together modern electronic music with psychedelic music from the 70's, with as a landmark of its own, the apocalytpic lyrics and voice of Edward Ka-spel. As a solo artist his music is not so complex and varied regarding instrumentation, but they create a more private and intimate atmosphere. "Lyvv Chian Doll" was original released as a casette by Ka-spel on his own Mirrordot cassette label. Originally this cassette was intended as a simple live document, but during its compilation that intention became obscured. Ultimately only half of the material was live, and it featured much previously unheard work. For the CD version, only "The Horn Section" is live, while a number of sketches and small pieces have been inserted, recordings that cover the period 1982-1992, so do be patient with the occasional dubious sound quality. CD is packed in standard jewel box with transparant tray." [label info]
www.staalplaat.com
|
1993 |
€14.50 |
|
|
Tanith and the Lion Tree |
CD |
"Finally, Edward Ka-Spel’s genius 1991 album is given the re-mastering treatment, complete with bonus tracks. Ballads coupled with a dark, malignant backdrop. A strange, mystical atmosphere carved out by texture and emotion. Housed in a matt-laminate digipak, this is the ultimate solo album from The Legendary Pink Dots’ frontman. Previously unavailable on CD for 15 years. Digipak." [label info]
|
2012 |
€13.00 |
|
|
High on Station Yellow Moon |
CD |
"There is a station where the train never arrives, where the Waiting Room is always occupied, where the conversation is inevitably awkward and where you’re never quite alone, but perpetually ALMOST alone.
Ladies & Gentlemen, welcome to Station Yellow Moon, the final bastion of humanity, the last stuttering blip on the life support system, the domain where Access Is Denied perpetually – but who the Hell would want to go there anyhow? Well, some pay handsomely for the Great Escape, despite the risks….
“High On Station Yellow Moon” is a new solo album by Edward Ka-spel of The Legendary Pink Dots, and marks the beginning of his collaboration with long time friend and fellow traveller Amanda Palmer of the Dresden Dolls.
It doesn’t get more conceptual than this."
www.soleilmoon.com
|
2017 |
€15.00 |
|
|
Permission to Leave the Temple |
10inch |
The idea of a release by the founder of The Legendary Pink Dots on Lumberton Trading Company had been mooted for a number of years. In fact, they were close to issuing a 7" around 2010, but this fell through due to the usual problems often facing small, more or less homespun, labels. The idea of still doing something with this prolific stalwart of music cut from those many folds where avant-garde abstraction locks horns with molten psychedelia, kosmische sounds, electronica and an approach to songwriting never afraid to go wherever the mood takes, however, never left. Attached to all of this, as always, are Edward's words, where wry everyday observations can mutate or be twisted into new forms given a distinctive surrealist slant. Collected on this limited 10" are five songs adding up to the length of a mini-album. Edward may well be one of the most active artists to have first emanated from the early 1980s cassette network, but Lumberton Trading Company is more than happy to play a small part in this continually unfolding, and always interesting, story. Edition of 500.
https://fourthdimensionrecords.bigcartel.com/product/edward-ka-spel-permission-to-leave-the-temple-10
"When you read these words, The Legendary Pink Dots are loading their van to tour Europe, following their tour of late last year in the USA. It's been a while since we last saw this band on stage, and it's about time we see them again. During the pandemic, the group worked hard on new music and brushed up the old music for a new release, so where does singer Edward Ka-spel find the time to make his solo music? I honestly don't know but take a look at their Bandcamp (https://legendarypinkdots1.bandcamp.com/), and you'll find lots of music from his solo and with the mothership. It would be too simplistic to say that Edward Ka-spel is The Legendary Pink Dots in reduced form. Less Erik Drost's guitar and The Silverman's keyboards before or Randall Frazier's these days, Ka-spel's becomes altogether more electronic. Still, I believe that in his solo work, Ka-spel allows even more freedom to play around with sound and sounds (there is a difference there). There is more experiment, but it is also more personal. The distinctive voice of Ka-spel is the central point of attention in the five pieces on this 10", but he allows for a lot of room for an instrumental piece. Honestly, the three pieces on the first side and the two on the second flow right into each other, and there is, as far as I'm concerned, one long piece of music per side, in which Ka-spel tells his story/poetry and packs it with psychedelic coloured sounds. Joyful, over the top, reflective and personal. 'With My Blessing' opens with tinkling bell sounds, which gives the piece the charm of a music box in a baby's room, slowly morphing into something more dystopian with female vocals. Dystopian, perhaps, but Ka-spel's music is never without hope, I should add. However grim the world may be, there is always a ray of light in the music. As said, the psychedelic nature of his music is undoubtedly attributed to that. A 10"... the format of doom (too small for an LP, too big for a single)... it's too short for a full display of Ka-spel's talent to paint stories with sound and words. This is another great one, that much I know, but I also confess to being a long-term fan." [FdW / Vital Weekly]
|
2023 |
€16.00 |
|
| |
Tales from the Trenches |
LP |
Mostly known for his work as founder, vocalist and main songwriter for The Legendary Pink Dots, Edward Ka- Spel has long forged an equally prolific career as a solo artist given to sometimes exploring similar sonic realms as his group but clearly working at such a pace the need to channel ideas and songs in this capacity must be enforced. And just as well too, because Edward Ka-Spel is one of those rare and exceptional artists whose high workrate doesn’t betray a keen sense of quality control. Long known as somebody unafraid to venture wherever he pleases, his work has for a few decades now long traversed the more outward-bound or so-called ‘fringe’ areas of electronic music, psychedelia, hypnotic rock, kosmische sounds and the avant-garde. Heartily sewn into all of this is Edward’s fantastic grasp of spinning a twilight tale or spiralling deep into the mind’s recesses to craft a song from comparatively nimble melodies and words of Kafka-esque proportions. It’s a strikingly rich blend that’s always deserved far more attention than the cult audience it thankfully at least has.
Tales from the Trenches is the second release by Edward for Lumberton Trading Company. Following on from the abstract-flavoured ‘Permission to Leave the Temple’ 10” released at the start of 2023, this LP collects eight tracks of a personal nature mostly pinned into place by some refined electro rhythms, molten cosmic textures, plaintive strings, introspective keys and a late night hue that sways effortlessly between the beautiful, haunted and even, a couple of times, a steam-pumped and sweat-ravaged dancefloor. Limited to 500 only, Tales from the Trenches delivers exactly as the title indicates. Everything may at first feel ominous or sombre in tone, but there’s also a glimmer of hope laid bare in all its sun-drenched glory poking between the cracks.
Tracklist
Side One
1. 1919 (5.20)
2. Archetype (3.51)
3. Charcoal Estates / Votes For Pinocchio / No Gateway (8.31)
4. X Marks The Spot (5.10)
Side Two
1. No Show Tonight (5.18)
2. They Seek Her There (6.06)
3. Platform 5 (6.11)
4. No Show Tomorrow (4.34)
Listen to 'Platform 5' here: https://www.youtube.com/watch?v=1cWece7H3ac
|
2024 |
€23.00 |
|
| KA-SPEL, EDWARD & MOTION KAPTURE |
Alien Subspace |
LP |
The Magic and the Voice of Edward Ka-spel (Legendary Pink Dots) meet the ambient and psychedelic prog of Italian duo Motion Kapture, formed by Stefano Rossello (Bahntier, Ketvector) and Filippo Corradin (Bahntier, Lingams & Yoni).
Alien Subspace captures and transports us into electronic synth spaces where guitars and basses are dilated in order to catapult us into eclectic stories and visions that only the inspired and melodic voice of Edward Ka-spel knows how to create.
The songs are enthralling and romantic for one of the most inspired and best albums Edward Ka-spel has ever made. Influenced by Tangerine Dream, Progressive-Space Rock, Area and Coil, it is surely one of the most important releases in 2019.
Mixed and mastered by Justin Bennett (Ketvector, Skinny puppy) An absolute must!
EDWARD KA-SPEL : Voice, Effects, Noises
MOTION KAPTURE
STEFANO ROSSELLO :
Guitar, Mellotron, DeepMind, DX7, Synth9, B9, Op1, Virus TI Snow,
Juno 106, Kawai 100F, Sh101, Space Echo, Effects
FILIPPO CORRADIN :
Bass, VB-99, JP8, Doepfer A-111-5, Folktek Mescaline, Op1, Minimoog
Qu-bit Nebulae, Edp Gnat special, Virus TI Snow, Dave Smith Prophet 08
Recording at :
O.M. Studio - Agna - Padova
Suonare Sergio - Bologna
Furnace Studio - Legnago - Verona
Preproduction and Recordings by Aux Jack
Produced, Mixed, Mastered by Justin Bennett at Studio 23 Bologna
https://rustblade.bandcamp.com/album/alien-subspace-2
|
2019 |
€20.00 |
|
|
Anagramma |
LP |
This Is second Album of Edward Ka-spel with Motion Kapture. Psychedelic electronic music with ambient elements and old synthetizer sounds with the great voice of Edward Ka-spel (legendary pink dots).
A conceptual Voyage through Space Kraut rock and meditative ambient atmospheres in extended visionary ballads For sure one the best album of The Year .
Edward Kapsel : Voice, Effects, Noise
MOTION KAPTURE : Stefano Rossello : Mellotron, Guitars, Deep Mind 12, Juno 106, Z1, DX7, Rd8, Solina, Pro1, Effects. Filippo Corradin : Prophet 08, Bass, Continuum Fingerboard, Virus Polar, Waldorf Q, Noise, Pro1, Effects.
Recorded at : Furnace Studio Legnago (Verona)
O. M. Studio Agna (Padova)
Mixed & Mastered by Justin Bennett at Studio 23 Bologna
Artwork by Stefano Rossello
Videos by Filippo Corradin
https://rustblade.bandcamp.com/album/anagramma
|
2022 |
€30.00 |
|
| |
Anagramma |
CD |
This Is second Album of Edward Ka-spel with Motion Kapture. Psychedelic electronic music with ambient elements and old synthetizer sounds with the great voice of Edward Ka-spel (legendary pink dots).
A conceptual Voyage through Space Kraut rock and meditative ambient atmospheres in extended visionary ballads For sure one the best album of The Year .
Edward Kapsel : Voice, Effects, Noise
MOTION KAPTURE : Stefano Rossello : Mellotron, Guitars, Deep Mind 12, Juno 106, Z1, DX7, Rd8, Solina, Pro1, Effects. Filippo Corradin : Prophet 08, Bass, Continuum Fingerboard, Virus Polar, Waldorf Q, Noise, Pro1, Effects.
Recorded at : Furnace Studio Legnago (Verona)
O. M. Studio Agna (Padova)
Mixed & Mastered by Justin Bennett at Studio 23 Bologna
Artwork by Stefano Rossello
Videos by Filippo Corradin
https://rustblade.bandcamp.com/album/anagramma
|
2022 |
€14.50 |
|
| KA-SPEL, EDWARD & STEVEN STAPLETON // COLIN POTTER & QUENTIN ROLLET |
The Man who floated away |
LP |
"This record reveals two new musical encounters.
For the first time together, author, vocalist and keyboard player Edward Ka-Spel (Legendary Pink Dots, Tear Garden) and sound collage wizard Steven Stapleton (Nurse With Wound) offer us a 19 plus minute long piece called “The Man Who Floated Away”, composed and recorded in 2017. On the other side, the master of drone Colin Potter (Nurse With Wound, Monos) and French free sax player Quentin Rollet (guest with The Red Krayola, Nurse With Wound, Mendelson, David Grubbs, DRAME…) present a long suite called “The Closer You Are To The Center, The Further You Are From The Edge” their first collaboration ever, recorded in London in 2012, with special guest Isabelle Magnon on piano."
|
2018 |
€19.00 |
|
| |
The Man who floated away |
CD |
his record reveals two new musical encounters.#For the first time together, author, vocalist and keyboard player Edward Ka-Spel (Legendary Pink Dots, Tear Garden) and sound collage wizard Steven Stapleton (Nurse With Wound) offer us a 19 plus minute long piece called “The Man Who Floated Away”, composed and recorded in 2017. On the other side, the master of drone Colin Potter (Nurse With Wound, Monos) and French free sax player Quentin Rollet (guest with The Red Krayola, Nurse With Wound, Mendelson, David Grubbs, DRAME…) present a long suite called “The Closer You Are To The Center, The Further You Are From The Edge” their first collaboration ever, recorded in London in 2012, with special guest Isabelle Magnon on piano.
|
2018 |
€14.00 |
|
| KINKELAAR, FREEK |
WONDERSOUND. Discovering weird, wild and wonderful music |
BOOK |
Wondersound
discovering weird, wild and wonderful music
a book by Freek Kinkelaar
hard cover, 282 pages
For over thirty years, Freek Kinkelaar has been writing about music for publications such as Vital Weekly and renowned international magazine Record Collector Magazine. He has contributed liner notes for releases by labels such as Cherry Red, and also writes essays on music. Wondrous music.
This book, Wondersound, is about being amazed, challenged, bedazzled and caressed by music. It documents Kinkelaar's discovery of obscure vinyl, cassettes, artist records and vanity pressings covering avant-garde, noise, ambient, lounge and experimental music. The book's quire presents nearly 50 examples of exuberant vinyl and cassette packaging.
Featuring an introduction written by Edward Ka-Spel of The Legendary Pink Dots, Wondersound offers a dozen articles on, amongst others, noise music, Brainticket, The Gerogerigegege, Gary Wilson, Japanese erotic music, Rozz Williams, Vagina Dentata Organ and labels such as Come Organisation and Industrial Records. Over 80 columns cover artists as diverse as The International Sex Opera Band, SPK, Su Tissue, Pierre Schaeffer, Derek Jarman, La Monte Young, Princess Tinymeat, Zoviet France and Robbie the Werewolf! Added are an interview, liner notes and essays on why not to read lyric sheets and how Kinkelaar not only met a member of The Residents but, in the end, became one!
With an aim to inspire and entertain, Freek Kinkelaar writes with a wicked sense of humour, a keen eye for Anorakian detail and a genuine love for music. Known for his own musical endeavours under various guises such as Beequeen (with Frans de Waard), Brunnen and a plethora of other names, Kinkelaar has been collecting weird, wild and wonderful music since 1980.
This book is an essential read for those with an open mind towards the beautiful strangeness of sound. Wondersound.
Design by Alfred Boland
BLACK AND WHITE
The book's quire of 50 images is printed in black and white. The book's front and back cover are printed in colour and the book's content is identical to the colour-printed version. The black and white version does not come with any of the additional extra's of the colour version.
image: http://kormplastics.nl/wondersound.html
|
2021 |
€20.00 |
|
| LILES, ANDREW |
Ouarda (The subtle Art of...) |
do-LP |
Es hat drei Jahre gedauert, bis das neueste Werk 'Ouarda (The Subtle Art Of Phyllorhodomancy)' von ANDREW LILES endlich in den Läden landete, wobei der Entstehungsprozess fast genauso lang dauerte. Aufgenommen in Studios in Paris, London und Sizilien ist ,Ouarda." ein Reisetagebuch, das sich schlicht und einfach weigert, für längere Zeit an einem einzigen Ort zu verharren. Die Musik, die LILES hier versammelt, ist genau so unterschiedlich, wie die musikalischen Gäste, die sich auf ,Ouarda." versammeln. Mit dabei: Danielle Dax, Maja Elliott, Rose McDowall, Karl Blake, Edward Ka-Spel und Daniel Padden von VOLCANO THE BEAR, die alle einzigartige und absolut atemberaubende Beiträge liefern. Düster, eingängig, unerklärlich und außergewöhnlich ist ,Ouarda..' ein Manifest des Produktionstalents von ANDREW LILES, der ohne Zweifel ein einmaliger Soundzauberer ist.// Limited edition (600 copies) double LP pressed on colored vinyl. UK-based Andrew Liles' (Current 93, Nurse With Wound) latest offering has taken nearly three years to hit the shelves and almost as long to create. Recorded in London, Paris, and Sicily, Ouarda (The Subtle Art Of Phyllorhodomancy) is a travelogue that refuses to stay stuck in any one place for any extended period. The music herein is as diverse as the array of guests involved: Danielle Dax, Maja Elliott, Rose McDowall, Karl Blake, The Legendary Pink Dots' Edward Ka-Spel and Volcano The Bear's Daniel Padden all bestow unique and stunning contributions that soar along with Liles' unique brand of minimal surrealism. Obscure, accessible, incomprehensible and exceptional, Ouarda (The Subtle Art Of Phyllorhodomancy) is testament to the breathtaking production talents of Andrew Liles -- arguably the most vital and original soundsmith of recent years." [press release / Cargo translation]
www.dirter.co.uk
|
2008 |
€22.50 |
|
| PALO ALTO |
Difference and Repetition - A Musical Evocation of GILLES DELEUZE |
do-LP |
"This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.
Palo Alto
Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy Fox…).
Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times.
In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon...
From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this rule… "
https://subrosalabel.bandcamp.com/album/difference-and-repetition-a-musical-evocation-of-gilles-deleuze
"Palo Alto aus Paris gibt es seit 1989 und mit "Le Clos" erschien 1990 ein erstes Album (auf Tonbandkassette), dem bisher ein gutes Dutzend weitere gefolgt sind. Das Projekt um Jacques Barbéri nennt als Einflussgeber Tuxedomoon, Art Zoyd, The Legendary Pink Dots, Coil, The Residents, Can und Cabaret Voltaire, und betätigt sich vornehmlich in experimentell-elektronischen Gefilden, verunreinigt seine Musik aber auch mit Punkig-Schrägem, New-Wave-Artigem oder Modern-Kammermusikalisch-Klassischem. Ich machte erstmals mit dem 1998 beim Musea-Unterlabel Gazul Records erschienenen Album "Transe Plan" Bekanntschaft mit der Formation, und auf jenem geht es auch weitestgehend elektronisch und experimentell zu.
Zum 30sten hat man dann das wohl bisher ambitionierteste Projekt verwirklicht. Ein Doppelalbum hat man sich vorgenommen, von der Form her wie "Third" von Soft Machine, also mit vier seitenlangen Nummern, welches sich mit dem Werk des 1995 durch Selbstmord verstorbenen französischen Philosophen Gilles Deleuze befasst. Dazu hat man sich einige musikalische Gäste gesucht: Den von Deleuze beeinflussten SF-Schriftsteller Alain Damasio als Vorleser, Richard Pinhas, der einstmals bei Deleuze studiert hat, an der E-Gitarre, Thierry Zaboïtzeff am Cello und Rhys Chatham an der Trompete. Das fertige Werk wurde schließlich Ende 2020 vom Belgischen Label Sub Rosa als 2xLP oder CD veröffentlicht.
Mit Soft Machine hat die Musik eher wenig gemein. Aber, es ging ja auch nur darum ein ähnlich ausladendes und gestaltetes Album zu veröffentlichen. Ein paar jazzig-rockige Spuren sind auf "Difference And Repetition - A Musical Evocation Of Gilles Deleuze" aber auch auszumachen. Ansonsten ist dies eine Art von elektronischer Musik, oft rhythmisch voran schreitend, bestimmt von programmierter Perkussion, vornehmlich aber dominiert von allerlei Synthesizererzeugnissen und bisweilen heftigst verfremdeten Saxophonklängen, in die je nach Stück weitere Blasinstrumente, Cello, Bass, E-Gitarre und Textrezitationen eingewoben wurden.
Vor allem im dreiteiligen "Triptych" verliest Damasio Texte, einen eigenen bisher unveröffentlichten über Deleuzes Tod (der auch im Inneren des Digipacks abgedruckt ist), aus Deleuzes Buch "Capitalisme et Schizophrenie" (1980) und aus seinem Roman "Les Furtifs" (2019), durchaus engagiert und intensiv, ganz im Stile des "Concerto Delle Menti" von Pholas Dactylus. Man kann, auch wenn man den französischen Text kaum folgen kann, nur gebannt zuhören.
Die restlichen Stücke sind vorwiegend instrumental gehalten, nur im einleitenden "The Tears of Nietzsche" wird kurz ein Text von Richard Pinhas’ verlesen (aus "Les Larmes de Nietzsche – Deleuze et la musique“, 2001), und sind recht stark von den jeweiligen Gastsolisten geprägt. Im eben genannten ersten Track ist Pinhas’ E-Gitarre klangbestimmend und die Nummer klingt dann über weite Strecken wie das recht typische Gitarrendröhnen, welches auch auf den Soloalben des Franzosen meist zu hören ist. Palo Alto, insbesondere Berberis Sax, sorgen aber für eigenen Charakter. In "Rhizom" knarzt Zaboitzeffs Cello erst bedächtig, dann immer wüster, eingebettet in eine hypnotisch dahin schreitende Space-Elektronik, in der das 'Tibetanische Horn' Barberis aber auch exotische Akzente setzt. Im abschließenden Titelstück ist dann Rhys Chatham tonangebend, allerdings nicht an der E-Gitarre, sondern mit einer heiser-krächzenden Trompete, übrigens oft begleitet von einem Damenchor (genannt 'Les Bottines'), der stellenweise fast für Zeuhl-Atmosphäre sorgt.
Eine recht schwer zu kategorisierende Musik ist auf "Difference And Repetition - A Musical Evocation Of Gilles Deleuze" zu finden. Als dynamischen Avant/Kammerprog, dröhnenden E-Gitarren-Elektrorock, krautige Elektronik oder als pulsierendes Electronicagemenge könnte man das bezeichnen, oder als eine dichte Verschmelzung dieser Ingredienzien, angereichert mit allerlei freiem Klangbasteln. Das Ergebnis ist jedenfalls reichlich originell, intensiv, voluminös, packend und auf jeden Fall sehr progressiv. Ich denke einmal, dass Avantprog-Freaks bzw. Zaboitzeff- und/oder Pinhas-Fans, die zudem die weiter oben genannten Vorbilder (oder einige derselben) schätzen, von "Difference And Repetition" (übriges auch ein Buchtitel Deleuzes) begeistert sein sollten. Ein später Höhepunkt des Progjahres 2020!" [Babyblaue Seiten]
|
2021 |
€20.00 |
|
| REFORMED FACTION |
The World Awake / 11 Stueck |
do-CD |
"The World Awake! / 11 Stueck is a new double album from Reformed Faction, the duo of Robin Storey and Mark Spybey. It follows the triple CD release for Soleilmoon, ‘I am the Source of Light I am not a Mirror,” in 2009.
Robin Storey was born in 1955 in Cumbria, England. He studied fine arts at Sunderland University and took classes in electronic and experimental composition, joining with friends to perform the works of Karlheinz Stockhausen (a key influence, as were the Krautrock bands of the early 1970s). In 1979 Storey formed the pioneering industrial group :zoviet*france:, remaining a member until 1992: The same year Storey issued the first Rapoon album, Dream Circle, its entrancing fusion of Indian ragas, African rhythms and experimental textures anticipating the evocative soundscapes of the many releases to follow. Also a noted visual artist and animator, Storey's work has been exhibited throughout the world and is in the collections of many major galleries.
Mark Spybey was born in North Yorkshire, England in 1961. He has always worked in mental health care. After a long time as a member of :zoviet*france: he moved to Canada and worked under the names Dead Voices on Air and Propeller. He collaborated widely, toured and was vocalist of the acclaimed band Download (ex-Skinny Puppy). He was also a member of Sofortkontakt!, led by the late Michael Karoli of Can, appearing at Can’s 30th anniversary shows. Spybey has worked with a variety of artists who inspired his music, including Damo Suzuki of Can, Faust, Michael Rother (Neu!, Harmonia and Kraftwerk), Dieter Moebius (Cluster and Harmonia), Genesis.P.Orridge (Throbbing Gristle/Psychic TV), James Plotkin, Martin Atkins, Mick Harris and The Legendary Pink Dots. He returned to the U.K in 2000. The World Awake! Was originally intended for a vinyl release and recorded from improvisations made on one day in November of 2009. 11 Stueck was compiled from improvisations made on December 1st 2009, with drummer Christian Alderson and bass player Oscar Ruiz Fernandez. The Austin Texas based musician Tony D’Oporto, aka Gnome, also appears on one track. The work references the writing of Henry Miller, in his aptly entitled essay, “With Edgar Varese in the Gobi Desert.” “The World Awake! Just to repeat that to yourself five times a day is enough to make an anarchist of you. How would you awaken the world – if you were a musician? With a sonata for rusty tin openers? Have you ever thought about it? Or would you rather remain asleep?” “We have been educated to such a fine – or dull – point that we are incapable of enjoying something new, something different, until we are first told what it’s all about. We don’t trust our five senses. We rely on our critics and educators, all of whom are failures in the realm of creation.” Varese said, “What should be avoided; tones of propaganda. As well as any journalistic speculation on timely events and doctrines. I want the epic impact of our epoch, stripped of it’s mannerisms and snobberisms…. Imagination is the last word.” This first edition of “The World Awake/11 Stueck” is presented in a high-quality screen printed perfumed sleeve with printed slipcases for each disc. It is limited to 444 copies." [label info]
|
2012 |
€20.00 |
|
| SILVERMAN |
Blank for your own Message |
CD |
"Available late Feb. 2008. First ed. of 500 copies in a full color book bound case. Silverman should be given a degree in bio-melodics. This most recent body of collaged constructions pulsates with aspects of a living system. Slurred drones rush sonic corpuscles through electronic capillaries, imparting breath to each track. An obscured, parenthetical heart beat occasionally comes through as an unexpectedly metallic panging in the background, mostly drowned out by the fluid dynamics of localized subsystems playing out their various vital functions. Perhaps each one of us DOES sound a little like a Javanese gamelan orchestra inside if you hit the right spot. Cutting to find out is not advocated. Silverman’s fantastic voyage sounds like a spiritual dissertation on degrees of scale. The musical camera obscura sometimes finds purchase on an atomic level, aurally zooming into the humming orbits of individual atoms and even creeping up on the sounds of the electrons, protons and neutrons themselves. With this beautifully ambient series of orchestral maneuvers in the dark, Silverman may have found a tonal replacement for Gray’s Anatomy." [label info]
"The Silverman aka Phil Knight is one of my favorite musicians in the experimental ambient/drone scene. Over the past decennium he has been responsible for some of the most beautiful ambient/meditative music I've ever heard. His previous LP/CD for BLRR Nature Of Illusion is one of the best albums in this genre I have heard in many-a-year. The Silverman's solo albums have always been slightly overshadowed by his work for the Legendary Pink Dots. This is a shame, as his solo work deserves a place of its own. Perhaps this new CD Blank For Your Own Message will do the trick. Starting off life as a "zen-opera" in seven parts, the music here is more varied than Nature Of Illusion. BLRR drops the term "bio-melodics". For once I have to agree. This actually fits the music and the world of The Silverman. Although the music has seven parts, the 43 minutes that make up this album are programmed into one track. It is hard to tell the origin of some of the sounds; there are traffic tapes and acoustic sounds (percussion, cow bells) of a more ethnical nature, all mixed up with synthetic sounds. These combined make up a very strong album. Packed in one of those typical BLRR deluxe hard-carton sleeves, this is a great addition to the already great discography of The Silverman." [FK / Vital Weekly]
www.blrrecords.com
|
2008 |
€15.00 |
|
| |
Time on thin Ice |
CD |
"Packaged in a full color gatefold sleeve. Featuring guest performer Edward Ka-Spel (Legendary Pink Dots). The man of silver is a master of negative space. His silences say as much as his notes. Perhaps this is how he can compose a thing that sounds like glaciers conversing. Ringing ubertones breathe sighs of bas-relief at the borealis. The Silveman's sounds are quiet and delicious, like a Rainbow Generator sinking slowly into a rusted hull. These ambiences destroy fascists. Dark and twisting pulses hollowly respirate, imitating their dying. This is the good stuff. With Silverman, the only motoriked thing to fear is atmosphere itself.Thanks to Alena Boykova for melodica on 1, to Edward Ka-Spel for percussion and tapes on 1 and for voice and lyrics on 2 & 3. Thanks also to Raymond Steeg for cd mastering, to Astrid "Snoepsnail" for cover photography, and to Chris McBeth for cover layout." [label info]
www.blrrecords.com
"...Sometimes I tend to think of Silverman releases as blue prints for future Pink Dots releases, but I guess that's not true, as they stand very much by their own. The four long pieces here show a side to The Silverman which we hardly see in the work he does with the Pink Dots. Spacey, atmospheric music, build from synthesizers. That made me think about something: when do we classify something as drone music and when is something cosmic music? With the current interest in the latter, I think The Silverman could the master of the scene. Should be. His love of analogue synthesizers, textured sounds and slow arpeggio's, along with sparse percussion make up some excellent cosmic trip, which also finds its roots in drone music (say Eliane Radigue) and modern electronics. Now why isn't this guy on a hip young label playing is electronic spacey music? If ever I would find out… Here The Silverman gets vocal contributions on two pieces, but the best is 'Ocean Calling', which is all by himself: a meditative piece of music, reflecting tidal waves, slowly moving back and forward. Four excellent pieces of the greatest mood music." [FdW/Vital Weekly]
|
2010 |
€14.00 |
|
| TEAR GARDEN, THE |
The Brown Acid Caveat |
do-LP |
"It's been nearly 50 years since the first Brown Acid Caveat was issued to a million hippies in a field at the first Woodstock Festival. In these dark , more-knowing times The Tear garden felt it was the perfect moment to mark their 30th Anniversary with a similar warning , especially as their first album back in 1987 bore the declaration , "We Will Pour Our Jars in Reservoirs" on the cover. In fact , we were joking. Despite the madness you may perceive all around you right now, those jars were stashed on the highest shelf of a kitchen cupboard and the key was tossed into the ocean. Our sole wish is to introduce beauty to the medieval landscape we appear to be trapped in right now.There will be no brown paint splashed around. Beauty survives , even underneath the ugliest, heaviest rock. This is The tear Garden's 8th record and is testimony to an enduring friendship that spans the aforementioned ocean. After 8 years, The Tear Garden (the psychedelic/experimental/electronic project of Edward Ka-Spel of The Legendary Pink Dots & cEvin Key of Skinny Puppy) return with "The Brown Acid Caveat", the culmination of the duo's 31 years of working together. Psychedelic electronic melancholia , fearless experimentation & improvisation combine to take the intrepid listener on a mesmerizing voyage of the mind. Feel the Love. Don't touch the brown acid."
"How to characterize The Tear Garden, the more than 30 year collaboration between Skinny Puppy’s Cevin Key and The Legendary Pink Dots’ Edward Ka-Spel? The threads that make up their discography aren’t hard to identify; there’s a baleful wit couched in heartbreak and a melancholic psychedelia that are easy to spot on every LP, EP and non-album track with few exceptions. But just being able to identify those repeated moods and ideas doesn’t get us any closer to understanding the essence of what these two friends have together, or how their divergent musical paths keep leading them back together to make such lovely music.
The Brown Acid Caveat is the first LP of new material since 2009′s Have a Nice Trip and in contrast to that record’s jammy experimentalism (a thing both Edward and Cevin excel at unsurprisingly), the songs here feel more purposeful and concise. Even when the songs stretch out past the seven minute mark, their deliberate construction hearkens back to the latter era-Nettwerk Tear Garden albums, when many of LPD’s members were involved in the project. Probably not coincidentally, some former Dots – guitarist Martijn De Kleer and dub maestro Ryan Moore – are present here, although it’s unclear to what extent they pitched in or influenced the proceedings. That said, opener “Strange Land” hearkens back to 2000′s underrated Crystal Mass, playing out as a sad travelogue through places real and imaginary, all carried by delicately strummed guitars and Ka-Spel in the wounded sage persona he’s been growing into since his very earliest recordings.
Indeed, while the group has always thrived on a mix of straight songwriting and trippy outer space journeys, Ka-Spel and Key are working hard to reconcile those ideas here. Functionally that means you get more than a few songs, like “On With the Show” and “Kiss Don’t Tell”, that start fully formed before slowly unravelling into ambient tapestries of modular synthesizer, samples and reverb. And while every song feels as though it could go in that direction, The Tear Garden do show some restraint, allowing the lovely repeating synth figure of “A Private Parade” to play itself out fully before swapping in a solo that lands somewhere between a violin and a theremin. Especially pleasant is the excellent “Calling Time” (which features one of Ka-Spel’s best bits of contemporary wordplay “I’ll serve until it’s time/I’ll serve until this bar runs dry”) which marries a propulsive bassline with off-kilter mechanical percussion and a bubbling lead, all delivered in a relatively trim 4:29.
Still, while this is unmistakably a Tear Garden record, from the dubby half-spoken “Sinister Science” to the cathartic exotica of the string-infused “Seven Veils”, we’re no closer to insight beyond simply identifying familiar components. And maybe that’s where some of the magic comes from really. It occurs while listening Ka-Spel crack a little while he partakes in cute rhyming games on plinky-plunky closer “Object” that the Tear Garden is almost an in-joke, an insular and obscure province charted by two long-time friends who found a creative unity many years ago and have never let it go. It’s their trip, but we still have the privilege of being guests, and that can’t help but still feel somewhat special."
[idieyoudie.com] |
2017 |
€34.00 |
|
| |
Have a nice Trip |
do-LP |
"Metropolis is proud to reissue the stunning "Have A Nice Trip" from the psycedelic-industrio-experimental act Tear Garden. the long running project is the meeting of the minds of Skinny Puppy's cEvin Key and Edward Ka-Spel from The Legendary Pink Dots. Abstract musicianship meets esoteric poetry in the best ways imaginable, taking the intrepid listener on a mesmerizing voyage of the mind."
"A new album of material made over the past year at Subconscious and Edward Ka-spel's home studio. It features mixes by many collaborators including Collide, Humble Brothers, Frankie Pett, Raymond Steeg, and more. Produced by Edward Ka-Spel and cEvin Key." [original label info]
|
2017 |
€36.00 |
|
| TONIUTTI, MASSIMO |
Cava XI.XI.86 |
CD |
https://fernsrecordings.bandcamp.com/album/cava-xi-xi-86
CD reissue of a cassette released in 1987 edited by Massimo Toniutti.
An unique, beautiful and mysterious work in which sounds are produced somewhere, under the earth, in a cave or cellar. Organic, out of time.
Remastered from the original tapes, including two unreleased tracks created from records of the same period.
Cava xi.xi.86 was a concept album split into two parts, side 1 formerly called gravi tracks 1-4 and side 2 le ghiaie tracks 5-7.
Mixed at the stanza delle uova (1987) using a (4+4) multi-track system.
Two more compositions have been added to this reissue:
Track 8 (cube version of gravi) and track 9 (with a little help from l\'orchestra dei becchi di Fuji), both of them using \'86/\'87 archive sessions, re-worked and digitally mixed at my ground floor studio (2019).
Re-mastered from the original tapes.
All material recorded from November 1986 to April 1987 at the laboratory and its surroundings.
sound sources : clothes horse, metal ladders, pipes, welded wire mesh, railing, metal cans, occluders, muffles, clamps, springs, mandrels, drill bits, wrenches, hacksaws and unidentified objects; processed field recordings, via sistiana\'s hammers ad venetian blinds, and trains; hi & lo-fi speakers and microphones, handheld cassette players and recorders.
Thanks to Ron Lessard since 1988 and Sébastien for his hospitality.
#######################################
\"These refurbished sounds originally recorded in-between 1986-87 are from Italian experimenter Massimo Toniutti (we covered his Il Museo Selvatico here last year). His use of metallic objects and everyday instruments, fused in mysterious ways, is one of multilayered distinctions. A special thanks to Ferns and to other curatorial imprints who preserve these sounds for first-time observers. Though you’d never know it, this came out in that ‘growing-pains’ era when glitzy acts like Sigue Sigue Sputnik ruled certain airwaves, and you’d catch faded latter-day Eurythmics on your car radio as well as Deborah Harry gone solo and so many other novelties of the time. This is far from a response to that sonic Siberia, and likely was far too gray for the neon street life.
Instead, Cava xi.xi.86 serves a vintage more akin to what The Legendary Pink Dots or Controlled Bleeding were doing at the same time, just a little more introspective in terms of construction. At times this sounds like a windstorm passing through a kitchen pantry, and at others its more a series of aural sculpture – brittle man-made contortions. There are passive moments too, and here the quiet contemplation the relative freeform nature finds its way of exorcising its own ghosts.
Cling, klang the echoes slam and achromatize in gestures that are definitive but never inferring a beat structure, instead more similar to opening and closing the doors of a horse stable. If you listened to this and heard ‘chimes’ while sitting close to a vast body of water you may not be too far off either. In other words Toniutti (working vertically) has created a lubricious sound that is bespoke in the most underground of sensibilities.
The new re-worked tracks have a methodical atmosphere, like a nightmare involving a rickety rollercoaster. At some point herein the artist did, in fact, incorporate hammers and venetian blinds but instead of something kinetic you might expect from Einstürzende Neubauten here the listener is much closer to the inversion of surfaces and gadgets being deployed. At more than one juncture in the closer, cava recovery, an open circuit seems to be present as well as a nice balance of drone – and this is couched in such a way as to hear not only echoes from objects being struck, but this inert feeling as if you are lurking around the space. As the listener surveils the temperature of shifting tonalities things quiet down to a pivotal numbing murmur.\" [Toneshift]
|
2019 |
€13.00 |
|
| UW HYPOTHEEKADVIES |
Nature of Nurture |
CD |
"Ed. Of 400 numbered copies with full color insert each with an original hand drawing. Features members from former BlRR band Girlfriends and mastered by Erik Drost and Raymond Steeg (Legendary Pink Dots). According to the Explosive Ordinance Field Guide: “Uw Hypotheekadvies should be handled with great care as it is one of the most powerful EO’s, especially if detonated through speakers in the comfort of one’s own home.” As trios go, UH sound more like a thousand-tet. Imagine a heavily armoured Glenn Branca guitar army falling DOWN an UP escalator in such a way that they never reach the bottom and are forever tumbling and crashing. Now throw DNA down the same escalator and pour acid on that. UH don’t just rock; they ROCK. Like agates gone wild, their abstract explorations come delivered via sledgehammer and arrive on the plate as oddly conceived gemstones with insects trapped inside. It smells like the teen spirits of Naked City and Laddio Bolocko lurk underneath UH’s woodpile, but despite the improv flavour of UH’s pummeling, they skew away from jazz and lean in more towards prog than Zorn and Co. UH’s chaos fleshes form and even descends into subtle soundscapes in between the rat-a-tat blastpatter. A beautiful monstrosity of Nature and Nurture." [label info]
www.blrrecords.com
|
2008 |
€13.00 |
|
| VAN HOORN, NILS |
Colours |
CD |
"In the middle of 2001, Niels van Hoorn (Legendary Pink Dots) received a friendly email from Ryan Moore (Twilight Circus Dub Sound System / Legendary Pink Dots) offering assistance with his new solo album. He promised 'no stress, just fun!' And that is exactly what happened. Moore ended up playing drums and congas, which were looped and later employed for multi-track recordings. Van Hoorn's experiments with a Boomerang Phrase sampler resulted in the first sax loop on the album, which were mixed live with effects to a 2-track tape. For the most part, Van Hoorn placed himself in the middle of his studio, encircled by his collection of saxes, clarinets, flutes, analogue windsynths and keyboards, and would walk around to each, improvising. Everything was then recorded by Moore and passed through his 'effects kitchen; for some sonic baking. And voila! 'Colours' came into being. Both Niels and Ryan hope you enjoy listening to it as much as they enjoyed producing it." [press release] |
2003 |
€12.50 |
|
| VON EULER-DONNERSPERG, DITTERICH |
Knüllungen, Wulstungen, Klumpungen |
LP |
Geierberg Sterben Sie Bitte!
Und Ist Kein Jammer In Der Welt
Wahres Gegen Nichtwahres
Die Schläferfalle Vom Ende Der Zeit
Studioaufnahmen 1980-82, geringfügig überarbeitet und ergänzt 2012. Recorded 1980-82, slightly enhanced and added to 2012
© MOLOKO+ 2015
MOLOKO PLUS 080 PICTURE DISC
donnersperg@web.de
www.molokoplusrecords.de
„Wer Versucht, Den Menschen Mit Seinem Tiersein Zu Versöhnen, Wird Selbst Zum Menschen.“
KLOPSTOCK
„The One Trying To Reconciliate Man To His Beastly Existence, Is Doomed To Become a Human Himself.“
KLOPSTOCK
VIRB:
Ein grauer Knurrhahn und Grummelsack, der eine Schule für Honiggewinnung und Schnittblumenzucht in Alt Wrietzen im Oderbruch betreibt. Steht neben Dr. Kurt Euler, dem Vorsitzenden der Parteikommission für Volksbildung und Kulturkampf beim ZK der Kommunistischen Einheitspartei Deutschlands (KED) in dem (ungerechtfertigten?) Ruf eines im Geiste Johann Gotthilf KLOPSTOCKs, des Lehrers einer irrenden Menschheit, wirkenden, sinnenfrohen Zuchtmeisters fehlgeleiteter junger, mitunter auch alter Menschen, welche in hemmungslosen Daseinsirrtümern schwelgen und ihr Leben von dessen Ende her betrachten. Tritt seit dem Rübenwinter 1946/47 als Sachwalter des Werkbundes und des traditionsreichen Tonverlages Walter Ulbricht Schallfolien unbedingt gegen Wirrnis und verstocktes, kleinbürgerliches Schwarzsehertum auf und betreibt unter den Leitgedanken Verdunkeln! Der Feind sieht dein Licht! Beginne den Tag mit Sterben! Das „Scheitern als schöne Kunst“.
Im Jahre 1980 gründete Euler-Donnersperg die WALTER ULBRICHT SCHALLFOLIEN Hamburg, welche sich im Geiste Walter Ulbrichts, des damals meistgehaßten Menschen der Erde, des Erbauers des Berliner Antifaschistischen Schutzwalls, unbedingt der Langsamkeit verpflichtet fühlen und unter dem Leitwort NEU KONSERVATIW die ehernen Werte des klassischen „Industrials“ zu pflegen bestrebt sind (vgl. SPK: The Cathedral of Death - Die Kultur der Todesverdrängung). Bis Ende der 80er Jahre des 20. Jahrhunderts veranstaltete Euler-Donnersperg zahlreiche Auftritte mit geistverwandten Klanggestaltern, u. a. mit Illusion of Safety, Jim O’Rourke, The Hafler Trio, Bourbonese Qualk, Nocturnal Emissions, Whitehouse, Gerechtigkeitsliga, The Legendary Pink Dots, Laibach, Asmus Tietchens. Gleichzeitig geben die Walter Ulbricht Schallfolien Dokumente der Gruppen SPK, Throbbing Gristle, Laibach, John Watermann, Asmus Tietchens, The Hafler Trio, Werkbund, Mechthild von Leusch, Column One, Evapori und Hyph heraus. Im Nebenamt Sachwalter des WERKBUNDES tritt Euler-Donnersperg mit Lesungen und Klangschöpfungen eigener Werke hervor – unter anderem mit Michael von Hausswolff, Leif Ellgren, Kent Tankred, The Hafler Trio, Asmus Tietchens, Dan Burke, Organum, John Duncan. Seit 1996 jährliche Herausgabe eine Heftes der Pelzwurstlieder, Bildschallplatte im handgestalteten Portfolio, Reimdichtungen im Geiste Klopstocks mit elektronischem Zuspielband: Zustandsbeschreibung der Welt mit den Augen der Listspinne, der Trugnatter, der Assel, der Klappnase, des Stachlers.
www.molokoplusrecords.de
|
2018 |
€18.00 |
|
| WANDER |
same |
CD |
Viermal pure Drone / Minimal Music–Stücke vom BEEQUEENSeitenprojekt, warm und analog und sachte schwingend.... klingt sehr
„klassisch“ wie die Vorbilder aus den 70er Jahren.... am besten das vierte Stück wenn sich zu tiefen Drones Wassergeräusche mischen...
Dies ist die EINZIGE jemals erscheinende WANDER CD, da sie auf jeden Format nur einmal veröffentlichen!
“Wander are Freek Kinkelaar and Frans de Waard, also known as Beequeen. Since changing Beequeen's musical direction in the summer
of 2000 (drones out and 'popmusic' in). However, since they both love drone music, they founded Wander in 2001. In Wander they explore
drone music in it's widest possible form, with each new release exploring a specific concept. Wander will release their music on various
formats, but every format only once. Each release is called Wander, and there is a total absense of any information on the cover. So far they have released a 10" on their own Plinkity Plonk label, a LP for En/Of, a split 7" on Plinkity Plonk (a split single with Beequeen), a CDR on XZF and a 7" on Edition... and a forthcoming split 7" recorded in collaboration with Andrew Liles. The material was recorded in the analogue studio Geluidswerkplaats
Extrapool in late 2004 and early 2005, using a wide variety of vintage synthesizers (juno 60, korg MS20, roland SH 102 and Arp synthesizer)
and a Philicordia organ. The four long pieces breath an atmospheric, pastoral sound of slow and deep evolving drones. The CD was mastered by Raymond Steeg of The Legendary Pink Dots' fame. The images on the cover and the disc were made with the help of Elise de Waard. Released in a special cardboard package with varnished
images. Strictly limited edition of 600 copies only. Wander live performances are as rare as hen's teeth. So far two took place: providing a new soundtrack to Derek Jarman's 'In The Shadow
Of The Sun' and a gallery-show in Amsterdam (to much ignorance of a snotty and arty audience - but then we wouldn't have expected otherwise). official website at http://www.beequeen.nl/wander.htm“ [label info] |
2005 |
€8.00 |
|
| WHITELODGE |
same |
CD |
Nach der noch etwas spröden “Stream of Dreams” 10” hier das erste Album des US-Trios, mit tief-melancholischen, folk- & wave- & elektronik-beeinflussten Stücken, der Stil lässt sich schwer kategorisieren, aber von der WIRKUNG her erinnert das an die magischen Momente bei den LEGENDARY PINK DOTS....
“Like a palpable ghostly presence that phases in and out vision; at once translucent and illusory; simultaneously rattling silverware, sending chills through the flesh. That strange unseen grip in the hand; that vaporous and unexplained cloud of breath in the middle of the hallway. A great billowy poltergeist, Whitelodge is a musical revelation. The Lodge skirt borderlands between the mysticism of seething "post rock" and the dark textures of latter day "apocalyptic folk," managing in the end to sovereign a musical nation of their own. Somber musical expressions exude surprisingly powerful punch and often carve modest stones into towering columns of sound, which, while not actually loud, seem to IMPLY loud. Constructed somewhat like a This Mortal Coil record, the quietly crafted combination of acoustic guitars, electric piano, bass and electronics effuse scents of Sol Invictus ("Against The Modern World"), Gastr Del Sol, Sea And Cake, Insides, late late period Swans, Roseclouds era Death In June with a little "Another Green World" style Eno plastering the cracks...but none of these really captures the true essence of the Lodge what is White. Where apocalyptic folk often drowns in its own cheesiness, Whitelodge rise above and avoid trying to force any sort of posturing or false celticisms into their music. Whispered vocals reincarnate a host of spirits from Red House Painters to Coil, driving the compositions home by inference rather than the obvious. This music is unbelievably tangible in its etherealness. A deep beauty resides within and repeated listens open endless blossoms. This album is also guilty of having at least a couple downright infectious tracks that are so brilliantly cooked as to be virtual tonal crack. The Grand Poobah beckons: become one with the Whitelodge!“ [press release]
|
2005 |
€13.00 |
|
|
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