Hello and welcome back. It has been some time since our last newsletter. As always in the meantime between newsletters, things have come and things have gone. Some of the titles are already been “old” to some people that they had already ordered them or seen them on our sites (or our twitter feed). Apologies for all the repetition. Still, i hope you can find something of interest to you from all the below.
Thank you for reading and enjoy…
noise // experimental // abstract sounds
Quite a few noise releases arrived the previous weeks, some of them like the ALAP from Incapacitants is already sold out but there are still copies of some wonderful stuff to dig in.
Andy Ortmann’s Nihilist label released a vinyl record of NigelAyers‘ and Phillip B.Klinger’s work, Erosion of the Monolith, from material composed by Nigel in 2004 and reworked by PBK last year. There was also a new cassette from Joke Lanz alongside Mat Pogo. Noise and turntablism at its best.
The latest Usagi batch of cds which will be available later next week, are 2 CDs, first one from Joachim Nordwall’s (the man behind iDEAL) early solo recordings as A.B.O. and the second from Blind Date, part of the ever growing new generation of American harsh noise. As said, later in the week will be ready to be posted to you.
Also as mentioned in our previous newsletter, copies of Kusafuka K2 “Hybrid Dub Metal Musik” are already here and are running low in quantities for anyone interested. A great record from the wonderful Tribe Tapes from US.
PBK/Nocturnal Emissions – Erosion Of The Monolith LP
In 2004 Nigel Ayers composed two hours of audio source material for collaboration with Phillip B. Klingler. Some of the audio was utilized and appeared on several releases between 2004 and 2009. In a fit of inspiration, Klingler revisited the remaining source material in mid-2021 and completed “Erosion Of The Monolith”.
Austrian-born Eb.er (aka Runzelstirn & Gurgelstøck) might be best known as the initiator and head of the Swiss artist collective Schimpfluch-Gruppe, which has constantly been pushing the boundaries of extreme music and performance art since its foundation in 1987. Among his many audio releases, »Hilt« is his third work for Fragment Factory, following »Nigredo« and »Wellenfeld«.
Total Black (from Berlin), apart from the aforementioned reissued of As Loud As Possible which sadly is out of stock, also released a record from one of our favourite american noise artists, Joe Colley. The new LP, Deformation of Tone, is as good as any stuff Joe has done in the last 30 years.
London based, InputError, has released a new CD from another favourite of ours american artist, Jeph Jerman. His latest album, Flapndr“Featuring field recordings, windswept drones and close mic’ed minimal sounds that combine to form dense and complex compositions that grow in intensity”.
Moving to Europe and Netherlands, we meet Supreme Tool Supplies, a label interconnected with Antenne Recordshop (in Tilburg) and Jac Van Bussel (probably betetr known from his power-electonic moniker DMDN). First record from Supreme Tools is the first release from the noisecore-grindcore-experimental trio of Kuttekop “Transverse Toxospumosis, in which Jac is also part of and then there is the reissue of his seminal DMDN’s “Agonistes 1 & 2” and a pro-DMDN project from mid-80s, Jacintebox, in a more post-punk and industrial paths than his latter monikers.
Moving next to Germany, we have copies from Fragment Factory and their latest vinyl a collaboration between Rudolf Eb.er and Will Guthrie. “The closer you listen, the more you will be drawn into it and realize that the rhythmic drumming, the careful arrangements of hiss, crackle and eerie muttering paired with fragmented bits of percussive noises make »Hilt« a very coherent whole”. We couldn’t agree more with this last statement.
soundscapes – sound art – electronics
Discreet Music from Sweden just released a double CD album from Gothenburg Sound Workshop, which consists of a new album on the first disc and both Förlag För Fri Musik albums released in small vinyl editions in 2020 and 2021 respectively, in the second. Minimal sound collages from the cold North.
Nyahh Records which gave us the wonderful Love-In-A-Mist LP from Natalia Beylis, issued a cd with works from another irish-based performance artist, Noel Molloy. Selected Audio Work 1983-1999. Audio made using multiple tape recorders, cut ups, mixed live and then recorded back on to cassette to accompany live performances and installations.
The story of Argentinian quartet, Reynols, is beginning to be well-documented lately. More stories and articles, more releases and collaborations, more and more stuff about them, something that is so nice to be happening at last. We recently received some copies from an older release of theirs from the Canadian Outlier Communications label called “Gona Rubian Ranesa” on a beautiful green vinyl.
fanzines – printed matter – fanzines
Noise is back, cds are back, so fanzines are back as well, which is a wonderful thing. We are so happy to offer you 3 at the moment, 4 very soon new fanzines.
First one comes from Bulgaria and Amek Collective and is called Comfort Club and this one is the 3rd issue, which they issue annually. It is a lovely neat pro-printed zine with lovely interviews and articles with Steve Cammack, Tobira Records, Vanity Productions amongst other things. Worth your time and attention.
Intrusive Signals, also had their 3rd issue released this month with bonus some more copies of the long sold out 1st issue. Both of them are here and ready to go. Full on with collages, paste and fold in techniques, upside down infos and small letters apart from all the pieces and interviews (Chlorine, Coldsore, Brachliegen Tapes, Himukalt, Shaun Robert) on the latest Issue 3and (Knifeoutofexistence, Vanishing Faces, Plague Arish, Fathom The Void) on Issue 1. If these Signals hadn’t been Intrusive to your life yet, probably it is time to be.
Last one is a zine from New Zealand, called What Lies Beneath. Apparently this is also its 3rd issue accompanied with a cdr with over 30 mins music of Peter Wright, P Wits, The Fulmars and LSD Fundraiser. On the print side of it, we have Dene Barnes, The Fulmars, P Witts, Peter Wright and a bunch of not NZers talking about the NZ scene. More infos about this one through our website.
still to come…
You can check our website for updates of what is about to come (or our twitter account if you are not yet fed up with social media)
As mentioned above, the 3 LPs from Supreme Tool Supplies, the Gothenburg CD from Discreet Music and the Usagi releases are more or less very close to be brought to us by Royal Mail.
But apart from that, and the What Lies Beneath zine from NZ, keep an eye for the latest Small Cruel Party cd on FernsRecordings and the Naga Mountain 4xCD Box Set from Holidays Records.
Thank you for your time reading this mail. Apologies for any mistakes, hope you stay safe and well.
Reynols – Gona Rubian Ranesa (LP green vinyl)
Reynols is a storied band with endless lore. Many history lessons have been written about them, still they remain one of the world’s most mysterious and challenging groups. “Gona Rubian Ranesa” is Reynols’ first studio album in 17 years and it updates their classic sound to new realms of hypnotic psych-rock immersion. This record was cut by the classic Argentinian quartet of Miguel Tomasin, Anla Courtis, Rob Conlazo and Pacu Conlazo and it stands as 100% proof that Reynols are highly reinvigorated and rocking headier than ever.
New 50-minute opus from Gothenburg Sound Workshop. Imagine a handcuffed Terry Riley driving a ice cream truck down in the Göta Älv. The second disc compiles both Förlag För Fri Musik albums (released in small vinyl editions in 2020 and 2021 respectively). Together the three albums creates a massive trilogy of stripped down, melancholic and introspective synth minimalism.
Originating from the very same sessions which produced “Metal Dysplasia” — one of his most prized releases — “Hybrid Dub Metal Musik” is undoubtedly a career high. Decades of harsh noise and shattered electronics are reimagined into a more feral beast than ever heard before.
Joe Colley’s skeleton key is an intra-dimensional sense of humor. It exists in a place between and beyond dry, deadpan, and defeatist, and is not actually funny. He has a knack for unlocking the essence of the absurdly uncomplicated, elevating it to a place of near-iconic significance and leaving it there. Hovering in a void….