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    Padang Food Tigers / Lake Mary

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    It seems a logical step to follow up Scissor Tail Editions 2012 reissue of Bruce Langhorne’s score to “The Hired Hand” with these two beautifully constructed pieces of music from artists residing on separate sides of the planet. Padang Food Tigers and Chaz Prymek AKA (Lake Mary) both employ similar instrumentations to that of “The Hired Hand” soundtrack. Banjos play the lead role for Padang Food Tigers and Lake Mary as well in building imaginary desolate landscapes. Guitar and piano float in and out. These could easily be heard as companion pieces “Crabbing King Sappling” builds heavy cinematic tension while “White River” acts as a blissful release. Both artists are apt creators of space and masters of turning your repetitive thoughts into wandering nomads. – Scissor Tail
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    Jesse Aycock – Out to Space…

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    Limited edition of 200. Letter-pressed, hand numbered jackets and artwork by Dylan Aycock at Scissor Tail Private Press. “This music is a little close to home. I’m happy and honored to be releasing my older brother Jesse Aycock’s first vinyl record on Record Store Day. This 7″ will be quickly followed up by a full length record early 2014. The album was recorded at the historic Church Studio in Tulsa, Oklahoma. The studio was originally founded and opened by Leon Russell in the 70’s and has recently been reopened this last year. The band for this record is made up of some Tulsa players as well as Neal Casal of (Chris Robinson Brotherhood, Ryan Adams and The Cardinals, Beachwood Sparks) and George Sluppick of (Chris Robinson Brotherhood, Ruthie Foster, Albert King and many more…) I’ve been watching Jesse play live for years and growing up hearing him develop his style in the bedroom next to mine, practicing guitar licks to classic records for endless hours. That being said it’s no surprise that his music and influence has seeped into my subconscious and finds favor at Scissor Tail. It puts into context a lot of my own musical choices and changes over the years. I’m obviously biased but I believe there’s a nostalgia and sincerity that can be heard and felt by anyone who takes time to listen to this quickly collectible record as Jesse has just been picked up as the guitarist for The Secret Sisters. Jesse was featured on the cover of Tulsa People last month and will be playing songs from this album and his previous two albums across the US throughout 2014.” – Dylan Aycock
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    Rivulets – Stars In Aspic

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    Rivulets is US songwriter Nathan Amundson. He has released albums on Important, Chair Kickers’ Union and O Rosa Records, as well as numerous EPs, split releases and compilations. Since 2000 Rivulets has toured extensively across the US and Europe, gaining fervent acclaim for his achingly fragile, minimal song-craft. This is Rivulets’ debut solo vinyl record, and the first physical release since 2011. Trome Records has been a fan of Rivulets’ achingly fragile song-craft for years now, so we’re really pleased to be able to bring you this beautiful record. 
’Stars In Aspic’ on the A side is full-band languid Americana which rocks out towards the end, augmented by Nathan’s distinctive vocals that hit you somewhere in the chest. 
’It’s Here’ on Side B hails from the opposite end of the Rivulets sound palette, with a deep, brooding late-night guitar ambient drone. As ever with Nathan’s work, both tracks on ‘Stars In Aspic’ sound bruised yet searingly honest, the effect of which seeps into the listener and stays there.
Artwork is from the photographer Christy Romanick [http://christyromanick.tumblr.com] who has previously contributed sleeve art for Rivulets, Windy & Carl, thisquietarmy, Windsor For The Derby and Infinite Light Ltd among others. 
Limited black vinyl with thick black card inner sleeves and hand-stamped labels. 
Essential.
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    Charles-Eric Charrier – Petite Soeur

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    Charles-Eric Charrier is a French bassist and pianist mining the remote seams of music between post-classical, jazz, acoustic blues and ambient. Hidden or distant those seams may be, but all the richer for those who take the time to seek them out. Echoes of innovative artists like Earth, Anouar Brahem, Bohren und der Club of Gore, Chet Baker or even Malian musicians such as Ali Farka Toure and Tinariwen sometimes appear on the horizon, only to disappear at the next turn. Charrier’s music as band-leader on ‘Petite Soeur’, his first release for Gizeh Records, is endlessly yearning and searching, pushing and pulling at the basic fabric of bass, piano, drums and guitar. Repetition, space and a sublime understanding of how instruments speak with each other are the key fundamentals in this album. Witness the patient guitar that opens ‘No Closed To Be’, taking its own sweet time before first acoustic bass and then percussion fall into line behind. And the narcotic, late-night jazz of the title track with drums, piano and Fender Rhodes slurring around Charrier’s steady bass pulse. Or the gradual build of ‘Instant/Moment’ into a sustained, pulse-like drive before pausing, exhausted by the sun on the plains, and then collapsing into a mesmerising swirl of woodwind, organ, piano and bowed drones. ‘Petite Soeur’ may be all-instrumental, but we can hear Charrier’s voice as clear as a bell. It is defined by empathy and clarity. In its own way, this is soul music.
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    Andrew Johnson: a new line (related) (2 x Vinyl)

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    A New Line (Related) is the latest venture from Lancashire-based Andrew Johnson (Hood/Remote Viewer/Moteer). Utilising tools from the early days of home produced underground dance music (such as SK5 sampler keyboards and vintage drum machines) Andrew has unearthed a beautiful album of downbeat, lamp-lit techno, industrial grade ambience and sonic experimentation which at times recalls early Warp Records, Gescom and raw, 313 area Beatdown House, as well as the more modern breed of electronic and techno travellers such as Actress, Mark Fell (Late Period) and even Theo Parrish (The Slow Sound Of Your Life). Despite (or maybe because of) the antiquated sound sources, these tracks pull and tug at the emotions. Rattling drum machines pick out rhythms while underneath, carefully played warm synths and a mesh of samples slowly emerge, introducing melody and texture into the pieces. All culminating in a spacious, evocative and unhurried work. As well as the more beat-driven tracks, there are moments of intense stillness (People Kissed Underneath Me), Steve Reich-esque, gamelan style hypnotic nodders (Repetition) and probably one of the most beautiful tracks you’re likely to hear this year (Great Palaces).
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    Glottalstop – Woodsmoke

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    The record is mastered by Brassica. Available in a limited run of 200 copies, the record features artwork screenprinted across the inner sleeve, and a 2-colour screenprinted card jacket, sewn edges and protected in a heavyweight PVC sleeve. Purchases of the vinyl also come with a free download code… Woodsmoke is the debut release from Glottalstop. Sourced almost entirely from a collection of tape recordings dating back 20 years, the two long-form tracks that make up this LP are an exercise in slowbuild tension, unsettling claustrophobia, and dense textural collage. This distorted tape assemblage is tied together with additional improvised cello and electronics, never standing still, but letting each sound explore its full potential before moving on. In terms of reference points, the record perhaps harks back to the early tape work of Arthur Lipsett, or more recent offerings from Daniel Menche and the unclassifiable output of Akira Rabelais. But really we’re struggling for comparisons. Woodsmoke, like the mysterious building depicted on the artwork, is out on its own, in the middle of the woods, and it’s getting dark…
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    Andree / Mason – Call, Response

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    “Call, Response” was conceived of as a long distance musical conversation between Josh Mason and David Andree. A single take of material performed by one artist was recorded to magnetic tape and sent to the other with the restriction that accompaniment be recorded in real time as well, closely simulating a live performance. Over time, as the players learned more about each other and their methods, an overarching quality to the body of work developed from their shared sensibilities. The call and response format allowed the voice of each artist to be present, interacting and intersecting, within a murky atmosphere punctuated by melodic fragments and moments of clarity.
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    Good Night & Good Morning – Narrowing Type

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    Narrowing Type, the first full length album in Good Night & Good Morning’s five year history, is an exploration of the darker side of nostalgia, texture, and delicacy. Recorded entirely in home studios between Chicago and Milwaukee, Narrowing Type retains GN&GM’s vibraphone and guitar core but uses the addition of drums while detouring into sublime realms of static and noise to leave you with deconstructed yet thickened pop music heard and felt through a haze of fog. Limited 12” vinyl mastered by Taylor Deupree (12k). RIYL: Grouper, The American Analog Set, Stars of the Lid, Low, Jesu.
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    Juppala Kaapio – Alpen Ocean

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    This release is a limited edition of 250 copies… Alpen Ocean is the final recording of Carole Kojo (Swiss) and Hitoshi Kojo (Japanese) that they left behind as Juppala Kaapio, whilst resident in Switzerland. The sound sources are rather familiar instruments and materials for us such as voices, handmade instruments, viola, organic materials and field recordings. However, the style has evolved to a hybrid of our early style: an intense harmonic drone music that has appeared in RAINBOW MASK, and another phase which might be termed as a cosmopolitan ethnic music, that has been archived in later recordings such as OWLORA MUSKARIA and ANIMALIA COROLLA. The overlaid harmonies of a murmuring of trees, howling skies, roarings of the ocean and the gradual transformation that is accompanied by melodies may remind you of migratory birds travelling across the sky on a lost ancient continent, or the dream of sea animals that are in eternal slumber in a ridge of mountains. This piece would be one of a high-water mark by Jüppala Kääpiö who have looked for sound which resonates throughout time and space, whilst regarding a life-size reality that is rooted on the earth. Since the move to Belgium where is a foreign county for both of us in 2011, we are investigating a passage to our next chapter in the new environment.
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    Chantal Acda – Let Your Hands Be My Guide (Vinyl)

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    180g heavyweight LP comes in a beautiful matte finished sleeve with black inner paper sleeve stamped with the Gizeh logo. Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the ‘With Our Heads in the Clouds and Our Hearts in the Fields’ (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011.
 After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.  
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    N(13) – Prora

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    Originally released in 2009. Pure guitar drones. With passion. A simple method with minimalistic device. Two songs focused on the heart of matter. Keep it low. At this point a classic! Vinyl will come with a 12-page photo booklet including liner notes by Tobias Fischer and Inke Arns. Mastered by Dirk Serries.
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    EAU-DC – Nr2

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    With Nr2 Jens Fischer and Thorsten Polomski developed 8 Songs moving between the relaxing moods of electronica. Just mixing up their favoured elements, adding more restrained, but sometimes pretty hasty beats and analog sounding fx’s this time, their 2nd recording expands ambient to not-just ambient. 100 copies will include a big sized poster with conceptual artwork according to the sleeve. Artwork/ design by Dominic Rechsteiner.
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    Aalfang Mit Pferdekopf – Kindspechleber / Kall Tra

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    On Kindspechleber Mirko Uhlig offers a set of real disturbing tracks somewhere between musique concrète and cold ambient layers. The added CD Kall Trä presents reworked sound collections from the vinyl and with this four completely new songs. As they complement this work as whole, these recordings shouldn´t be withhold. A release which shows once more that Mirko Uhlig is just a versatile experimental musician. Comes in a very appealing coverartwork by Robert Schalinski.
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    Machinefabriek – Vergezichten

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    Musicians like Rutger Zuydervelt have a special relationship with presets – sounds, rhythms and samples that are inbuilt to keyboards or synthesizers. Presets are the opposite of individualism in music, they are commodities, sounds off the peg. Self-respecting musicians never use them, or perhaps use them precisely because they shouldn’t. Zuydervelt aka Machinefabriek is a master of self-made sound and time-stretching, sensitively handling organic recordings and samples on countless releases, and regards preset sounds in an organ or a cheap keyboard as a tonal find, as a part of the cacophony of every day life. He uses the chugging of a Bontempi rhythm box or preset strings like field recordings, with the same calm and matter-of-factness as the murmur of ventilation or the hum of a refrigerator. These Bontempi-rhythms plus the computer-stretched sounds of saxophone (Espen Reinertsen) and voice (Mariska Baars) are the base elements of Vergezicht 1 & 2. It is stunning how Zuydervelt manages to produce depth and meditative calm with this supposedly soulless material. Never-ending expanses and the mechanic rhythms overlap and start shifting, slowly and imperceptibly before the beat gets nervous, starts to stumble to finally come to a standstill with the slowly swelling bass. The track is held in suspense, rattling and rustling. Ghostly squeaking breezes in, then another stop with a soft beat of the drum. Slowly, the track builds itself up again with filtered grooves and prolonged notes. On Vergezicht 2, the Bontempi-rhythm sets in again, after seven minutes of rising and subsiding expanses and the breezy, ethereal soprano, this time slowed down alongside warm basses and single notes from the piano. Then a momentary halt, almost too beautiful and too clean for this track. Soon an ominous siren call floats above the euphony and restores order by friction. This subtle irritation is part of a complete acoustic pattern. It is not possible to imagine Machinefabriek’s music without the irritiating moment, the doubt turned into sound. The Dutch word ‘Vergezicht’ means view or panorama. And it is a wide acoustic panorama opened by Zuydervelt here that reveal presets in new light.
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    Machinefabriek – Colour Tones

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    One sided white vinyl record (as used in the Colour Tales exhibition) in a simple sleeve. The package includes a download code for the music in digital format, including the 12 minute ‘Mosaic’ (which is not on the lp itself). Tracks 1-5 were recorded for ‘Colour Tales – an artistic research into the quality of colour’, a project and exhibition by Lesley Moore, curated by Anthropologists in Art, inspired by Imants Ziedonis’ book Krasainas Pasakas (Coloured Tales). Mosaic was initially a study for a live performance at the opening of the exhibition.
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    Jared Smith – Fjall

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    Limited edition 12” white vinyl. Jared Smith is a musician, photographer, and programmer living in San Francisco. In his third release, Fjall, meaning “mountain” in Icelandic, he provides a stripped down departure from his previous albums. Whether it’s the melodic rapping of a flagpole in front of Hallgrímskirkja church, the hollow clatter of a loose street-tile along Bergstaðastræti, or even the warm, comforting sound of coffee brewing from within flat in Reykjavík, He is able to find the music in the micro and the mundane. Fjall explores the fear that disables enjoyment of beautiful moments, the fear of repeating mistakes, the fear of what a new path will bring.
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    Melodia – Saudades

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    Saudades is the debut by Melodía, the duo of Federico Durand and Tomoyoshi Date. Fede is a musician who lives in the suburbs of Buenos Aires, Argentina. Born in San Paulo, Brazil, where he lived until the age of three, Tomo currently resides in Tokyo, Japan. They both share a profound passion for music. They both released a solo album on Own Records in 2011 and a few months later (Spring 2012) went to Europe for a common tour where they first met and where they decided to record an album together which was mastered by their friend Stephan Mathieu.
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    Drape – An Idea And Its Map

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    Edition of 400 copies. Black vinyl, 180 Gram pressing. Gatefold sleeve + OBI strip. Purchase of LP will include a download code of the album… Drape is an ambient duo comprised of Ryan Gracey and Spencer Williams. They have been crafting soundscapes since 2004. Their debut, ‘dream words’ (Gears of Sand) saw a limited CDR release in 2009. It was well received and garnered comparisons to Stars of the Lid, early 70’s Tangerine Dream as well as late 80’s space ambient. Their follow-up was an interesting pairing on cassette – a split w/ experimental artist Odd Nosdam. ‘An Idea And Its Map’ marks a refined leap forward in Drape’s sound. While less space music, there is certainly more expansion. It is a smudged and blended orchestra of drones on the opener ‘Solo in High Dreary’ and those drones are split apart in slow-motion – eventually revealing a single guitar tone. Moments of sublime resonance as on ‘The Visible The Untrue’ anchored by piano, and notes that float, seemingly carried in on a breeze. All is not as it seems with an undercurrent of ground swelling, oscillating air – somewhere in the distance there is a storm assembling. Ebb and flow between light and dark – silver lined black clouds converge on the B side opener ‘fanfare for lake flies’. The strings, guitar, siren calls are assembled and plastered to one another. A thick blanket of overwhelming beautiful cacophony results. The album’s close is as much filtered white noise as it is heavenly chords. The dual slow-motion treated guitar present thoroughout ‘An Idea…’ diverges between pools of dissonant feedback, howls of wind, and melodic drones.
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    Alberto Boccardi / Lawrence English

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    The idea of the split comes from the recording sessions in the summer of 2012 that Alberto realized with the chorus of classical and contemporary music Antonio LaMotta. Alberto sends Lawrence all the material leaving him complete freedom in manipulation. In A side Alberto develops a path in three movements, where each part is independent but at the same time connected to the others; the sequence evolves as inevitable. Lawrence said about his tracks: “This is what I’d like to think of as Land Music. Perhaps sharing something with the perspective scale of Land Art, in which a massing of micro elements create a marco feature, these small sounds when transformed etch out contours and long envelopes of shape across the air. The pieces breathe with a kind of uneasy familiarity. Sounds of the human world and the natural world co-exist at equal states of transformation.”
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    Ratio / Ambarchi – Split

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    Luminance Ratio share another vinyl with an international musicians. While the first volume involved the American musician/artist Steve Roden, this second volume features Luminance Ratio, with a psychedelic piece of music between free-folk and ambient, and the Australian artist Oren Ambarchi with a song mixing the usual warm frequencies of his guitar with a unique and evocative vocal part.
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    Heidi Harris – Cut The Line

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    Pressed on 140g standard weight black vinyl in recycled cardboard jackets, with full color printed front/back artwork… “The most piercing element of Cut the Line is its use of repetition. As the title indicates, Harris’s fourth full length presents the process of separation. This presentation is deliberately calculated and refined: Harris’s goal while writing was to “create songs that covered as many different perspectives as [she] could imagine.” Whether it is lyrically, such as the playful vocals in “Oh My,” or instrumental, such as the dynamic riff in “Maple,” perspective is accomplished through repetition. In both cases, the consistent repetition and intentionally subtle variations lend an encompassing ambience to beautifully unembellished tracks. Harris intended to build on the loose “in the moment” style of recording she had done in the past with this release. There are certainly still moments of lively and disorienting experimentation, but the music never seems out of reach. “Carved In” contains a very pop influenced vocal melody that eventually gives way to a free flowing, liberated harp section – an instrument in which Harris experimented with here for the first time. Overall, Cut the Line is grounded in amicably layered vocals and very fitting minimalistic production. Harris also called on a variety of artists to fill out the album, including Teletextile and Inner Ocean’s own Cory Zaradur, Porya Hatami, Sima Kim and Joaquín Mendoza Sebastián. Cut the Line is an accomplished and thoroughly structured album that still manages to capture the energizing feel of a relaxed impromptu performance.”
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    Banabila / Erker / Machinefabriek / Zenial

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    12-inch 140 gram vinyl. Handnumbered limited edition of 250. Comes in a full colour matte sleeve. Artwork with kite aerial photography by Gerco de Ruijter… Banabila & Erker & Machinefabriek & Zenial is a limited vinyl release showcasing some of Banabila’s diverse collaborations along with a few new tracks. Tracks earlier released are “Deep in the Forest” (from “Route Planner “) and “More Signals from Krakrot” (from “The Latest Research From The Dept. of Electrical Engineering”). “Crowds”, however is an excitingly different version than the one known from the Sum Dark 12 release. The two new tracks are the opening track “Ill Rave” (with Machinefabriek) and the delicate “Drops”. B-E-M-Z.clearly demonstrates Banabila’s versatility. But then – most of his albums do! The impressive artwork is also very much worth mentioning: it’s taken from a collection of kite aerial photographs by Gerco de Ruijter
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    Chris Dooks – 300 Square Miles of Upwards

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    12” blue vinyl with pearl-­‐finish colour card inner and outer sleeves, photographic montage and essay. Layout by Rutger Zuydervelt (aka Machinefabriek). Comes with download of album plus bonus HD film and additional items… This record features loops of Scottish accents from Ayrshire to Aberdeenshire, as well as pieces for ‘broken piano’, Korg Monotron and spoken word reflections on the night sky. Initially made for Chris’s PhD and as a ‘gift’ for Galloway Forest Park in South-­‐West Scotland, the record be easily divorced from academia and its background into a genre that is somewhere between ‘the radio ballads’ of early BBC radio documentaries and a soporifice xperience in what is a massively luxurious vinyl + download package.
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    Mary Lattimore – The Withdrawing Room

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    Heavyweight black vinyl with cover design by Chris Koelle… Seek solace. Be still and drift. Withdraw and be there. There. Inside. A chair awaits. A beginning built from an ending, from leaving, from afar. In times such as these, The Withdrawing Room is a safe haven to leave behind all that weighs heavily and surrounds us. We remark how comfortable the chair is, how exquisite the view is outside the window, the aroma, the breaths to be taken as you become aware of the minutia all around you and the sounds emanating from Mary Lattimore’s harp, warming your feet, your hands, your heart. Breathe. Previous collaborations have seen Mary matching wits with such esteemed luminaries as Thurston Moore, Meg Baird, Kurt Vile, Ed Askew, Fursaxa, and Jarvis Cocker. But for this debut work, Mary sequestered herself in a room, much like this one, to kindle three distinct works for keeping the listener company as he or she enjoys the view. The nuanced notes of the harp strings sing and reverberate amid subtle electronics courtesy of Jeff Zeigler on the 24-minute long piece “You’ll Be Fiiinnne;” “Pluto the Planet” meanders at a slow and steady pace as the sun makes its way across the sky and the gentle plucks of the silk and steel resonate within, beyond; the closing chaos of “Poor Daniel” charts a recklessness that embraces the listener as he or she quietly makes their way out of the room to tackle the world anew.
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    Alexandr Vatagin – Serza (Vinyl)

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    Just in time for valeot records 5th anniversary, co-founder and label head alexandr vatagin presents his third solo album “serza”. in combining the analogue and tender atmosphere of “valeot” (2006) with the harsh, yet subtle digital electronics of “shards” (2008), “serza” is attesting to a consequent and traceable development towards maturity in sound and structure. featuring a huge spectrum of common as well as unusual instruments, it takes you on a thirty minute trip full of delicate melodies, pushing drums, gentle noise, swirling celli, warm vibraphone chimes and sweet piano tunes. The album features friends from all over the world including martin siewert (radian, trapist), hideki umezawa (pawn), james yates (epic 45, pattern theory), fabian pollack, giulio aldinucci, all tupolev members and patrick pulsinger, who provided several self-recorded synth samples. Serza is presented live either by alexandr vatagin (cello, synth, laptop) solo or as a trio: alexandr vatagin (bass, nordlead, laptop), martin siewert (guitar, devices) and david schweighart (drums). Born in ukraine in the early 80ies, vatagin moved to austria in the beginning of the 90ies, and only started to make music another decade later. he plays in tupolev and port-royal and founded the project quarz, which recently released its first album on cronica. he has collaborated with b. fleischmann, stefan nemeth (lokai), steven hess (pan american), philippe petit (strings of consciousness), bernhard breuer (elektro guzzi, metalycee), alexander schubert, kutin (dirac), nicolas bernier and many others and played concerts all over western, central and eastern europe. his solo works and works he was involved in were released on valeot records, morr music, cronica, n5md, mikroton, moozak and many more.
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    Mark Templeton – Jealous Heart

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    Mark Templeton presents Jealous Heart, an album which reimagines the story of his sound in an approach that is both staid and deeply emotional, re-orienting what is offered and what is held back through a myriad of smeared stringed instruments, fragmented horn phrases, tape loops, and found-sound-driven explorations. Templeton’s music is always difficult to truly classify, which is part of its charm. It is way too dense and detailed to qualify as ambient in a traditional sense – instead developing itself into a highly organized, spacious clutter. It is electro-acoustic music that hearkens to tape machines and misused instruments of yesteryear, viewed whole-heartedly through the prism of ultra-modernity, of an awareness of what has transpired in-between.
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    Betacicadae – Mouna (Vinyl)

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    Clear vinyl in handmade printed sleeve and insert. Individually numbered edition of 100, each one-of-a-kind. Includes download code for bonus material. Painstakingly constructed by multi-instrumentalist Kevin Scott Davis during more than two years of spiritual struggle and rebirth, ‘betacicadae: mouna’ is a lush, transcendental narrative in sound. It is a cohesive whole that employs a broad spectrum of textures and extends far beyond formula like “drone” or “field recordings.” The sounds absorb, project, embrace, and comfort the listener in imaginary geography—surreal, dreamlike spaces beween earth and otherworldliness. ‘mouna’ is an intimate personal statement, but also a universal musical narrative of redemption. Source material for each track began with field recordings: a farm in Oregon, a rainforest in Hawaii, different cities. An array of acoustic and electronic sounds were generated from scratch: instruments included guitars (electric, bass, lap steel), wood flute, vibraphone, harp, violin, percussion, synthesizers, effects pedals, and digital software. Elegua Records is proud to present this debut release by betacicadae. Beginning with photographic images by Davis, the design, printing, and construction of the album’s physical editions are approached with the care and depth of feeling that the music deserves. Taking the label’s handmade DIY approach to limited editions a step further, clear vinyl and compact disc editions of 100 will include one-of-a-kind screen printed, stamped, and individually numbered inserts and transparencies. The physical editions will also include a unique download code with access to high-quality digital files of the album and bonus material.
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    The Mistys – Stalking / Drawers

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    This little baby comes in a super limited 7″ pressing (200 copies) and we have a feeling they will not be around for long! Comes with a Japanese style ‘Wrap around’ cover and black/white photo booklets. Mistys are the first signing to The Boats new label Other Ideas and ‘Stalking / Drawers’ will be it’s debut release! We want more Mistys music please Andrew. This stuff gets me and Jess moving around the room!
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    Ingenting Kollektiva – Fragments Of Night

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    Gorgeous gatefold 4 panel with heavyweight wax… Ingenting Kollektiva is comprised of Diane Granahan, Kirston Lightowler, Tarrl Lightowler, and Matthew Swiezynski, and is a homage to the films of Ingmar Bergman and Sven Nykvist. The Kollektiva recordings are meditations on the quality of light, sound, and atmosphere, as well as realizations of the various forms of ‘nothingness’ captured by these two masters. Christmas of 2009, the Kollektiva found themselves surrounded with many recordings from the year 1969, including: Miles Davis & Teo Macero’s In A Silent Way and Bitches Brew, John Surman’s Way Back When and How Many Clouds Can You See?, and Extrapolation (with John McLauglin), Bert Jansch’s Birthday Blues, Vashti Bunyan’s Just Another Diamond Day (recorded December 1969), Fairport Convention’s Unhalfbricking, Jan Garbarek & Terje Rypdal’s Esoteric Circle, King Crimson’s In The Court Of The Crimson King, Scott Walker’s Scott Walker 4, Holger Czukay’s Canaxis, plus many more. With this in mind, they recorded some songs in the Lightowlers’ barn during a rainstorm, and later added recordings from Northern California and Los Angeles. The editing process then became something similar to Macero’s work for Miles Davis. The recording has been issued as a long-play record with a gatefold sleeve and photographs by Tarrl Lightowler. Thanks so much to Taylor Deupree for bringing many layers & hidden sounds to life in these recordings.
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    A-Sun Amissa – You Stood Up For Victory…

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    Limited Edition 180g Vinyl: Come with download code, printed postcard and other printed inserts… A-Sun Amissa is a project formed out of Leeds, UK in 2011 by members of Glissando and The Rustle of the Stars.. Built on the foundations of the unknown, a project that encompasses minimalist drones, modern-classical movements and avant-garde tendencies. Richard Knox (Glissando, The Rustle of the Stars, Of Thread & Mist) & Angela Chan (Glissando, The Rustle of the Stars, Tomorrow We Sail) began forming the initial ideas in the Autumn of 2011, moving away from the piano-led ambience of previous outputs. New album ‘You Stood Up For Victory, We Stood Up For Less’ sees A-Sun Amissa moving in a more dense direction, the drones are heavier, the sound thicker and with the added bass-clarinet of Gareth Davis there a new slightly darker jazz element now to the music. The music was conceived initially as two drone guitar pieces, following that, work was done on the composition and atmosphere of the tracks adding the bass-clarinet, viola, vocals, field recordings and piano. The finished works produce an unsettling but hypnotic listen with melodies moving in and out of the mix throughout these two pieces.
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    Peter Broderick – Ten Duets

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    Format: 12-inch vinyl Edition: 250 Track list: 1. Piano & Toy Piano 2. Travel Guitar & Thunder Machine 3. Viola & Laptop 4. Shaker & Kalimba 5. Pump Organ & Hand Bells 6. Violin & Mouth 7. Mandolin & Theremin 8. Field Recorder & Postcard Weevil 9. Nylon Guitar & Violin 10. Banjo & Piano This stunning collection of songs were originally release on cassette tape in 2009. It sold out quick and now a remastered version are released on vinyl by Vintermusik. Its limited to only 250 numbered copies, on black vinyl with a folded sleeve.
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    Orsi & Pimmon – Procrastination

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    Limited run of 250 copies on heavyweight 180grm wax: “When ideas float in our mind without any reflection or regard of the understanding, it is that which the French call revery, our language has scarce a name for it.” – John Locke Procrastination haunts us. Even the most studious amongst us occasionally finds themselves trapped by a lingering daydream or escapist vision; one that absorbs us and removes us from the moment. But procrastination often masks a industrious subconscious flow. I posit, procrastination is a disconnected deep-thinking, a sub-dreaming, a hidden imagination that trickles in the deepest caves of our brains, which eventually join the conscious rivers of our mind. It’s procrastination that is to blame for the tectonic elegance heard on the debut collaborative effort from Italian musician Fabio Orsi and Australian laptopper Pimmon. After discovering a mutual admiration for their respective outputs, the two decided a collaboration was in order. Before long, Orsi passed Pimmon a set of recordings Pimmon felt “were, in my mind, fully realised”. Considering them as finished pieces, Pimmon was flummoxed as to what he might bring to the collaboration and he entered, as he calls it, “a zone of procrastination”. A deadlock ensued, as Pimmon ploughed through other projects unsure of how to resolve the question of the collaboration. 18 months had passed since the pair first exchanged files and Pimmon, whilst on break along the picturesque Margaret River found himself revisiting the files. Suddenly procrastination broke and the deadlock of directionlessness evaporated. The subconscious trickles had formed rivers and the rivers pounded together creating a tidal wave of sonic ideas that saw Orsi’s files transformed in quick succession. The source recordings shattered through a web of Pimmon’s processing devolutions, re-arranged and re-edited to reveal an entirely new perspective on Orsi’s sonic matter. – Lawrence English
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    Nite Lite – Megrez

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    Phonography, or field recording, could perhaps be imagined as a sort of spectrum. At one extreme are the documentarists, who strive to capture, with the utmost fidelity, the sounds of things as they are ‘in real life’; at the opposite end sit those who use recorded sounds simply as materials for expanding their sonic palette, with no concern for fidelity or recognisability. Between these two poles, however, stretches a wide and ambiguous middle ground, and much of the recent music that I find interesting or engaging happens here. “Megrez”, the new release on Desire Path Recordings from Portland-based duo Philip and Myste French, falls into this uncertain in-between region, though it disappears into the foliage well before we get to see where exactly it lands.
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    Alex Durlak – Seconds

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    The album has been pressed as a single-sided 12” on white vinyl. On the blank side of the disc, an excerpt of a short story written by Algernon Blackwood in 1906 has been printed in black ink. The discs fits inside a custom made jacket that features a pocket made of translucent paper to allow the disc to be viewed while inside the jacket. On the front side is a full colour photograph taken by the artist. EPIC!!! Seconds is the third and final piece in a series of recordings made by Alex Durlak in March 2010. The first was released as Catalyst (2010) on the Rural Routes series and was followed by Lowing (2010) on the Audio Gourmet net label. All three feature Durlak’s guitar playing being processed in realtime using granular synthesis techniques and were recorded in single improvised takes; a minimal approach that makes for a deep and complicated sound with little reference to its original source. Seconds is an ever changing narrative through a dark and open space, perhaps a walking tour through an abandoned factory with it’s machinery left running or the soundtrack to a time lapse video of steel being cut under an electron microscope.
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    Dooks / Machinefabriek – The Eskdalemuir Harmonium

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    Red vinyl LP w/DL and full colour card insert & exclusive download only EP… The Eskdalemuir Harmonium is a full-length site-specific collaboration between Chris Dooks and Rutger Zuydervelt who is best known by his Machinefabriek moniker. The project is orientated around a landscape home to a vast Tibetan Buddhist temple and megalithic stone circles. The resulting album and supplementary digital package are a fusion of ‘folktronica-concrète’ homages to a dying American harmonium – currently disintegrating in a farmhouse near Lockerbie, Scotland. The album, made over a twelve month period, includes a five minute radio documentary. In addition, Dooks’ essay and photographs of the year-long process have been stitched into a full colour montage designed by Zuydervelt – who also works as a respected graphic designer. The record itself is lovingly pressed on bright red vinyl. Much as one visits a sick relative in a care home, The Eskdalemuir Harmonium is a form of ‘sonic palliative care’. It spills into the glitch territory of Stefan Betke’s work as Pole, while at the same time it follows a sonic ethnographic tradition akin to ‘The Radio-Ballad’ (formed by Ewan MacColl and Peggy Seeger). It was constructed via a delicate bricolage process where spoken word, field recordings and music form more than the sum of their parts. When Dooks composed and began to arrange the pieces on the record, which also forms part of his work at The University of The West of Scotland, he was aware of the dangers of being too close to a project, and needing a sense of social communion on the project, he contacted Rutger who agreed to co-produce the record with Dooks, giving the project a capricious and variable flavour. The digital download of this album also includes an supplementary EP entitled Non-Linear Responses of Self-Excited Harmoniums composed from additional material from the same sessions.
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    Smokey Emery – Quartz EP

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    Pressing of 300 on thick 7″ black vinyl, heavy art cardstock duotone b&w “disaster” collage fold-out covers by Smokey Emery himself… Smokey Emery’s Quartz EP is a bona fide document of sonorities from the purgatorial regions. Distorted and catchy tape loops that take you from the inter-planes of the mind to the carnival, where the festivities seem at once sinister and endearing beneath the changing light of sooty reverb and effectual tape hiss. These deceptive washes of underwater tones falling in and out of tune are placid enough to meditate to though also project a menacing, even premonitory air. Unlike many drone kingdom tape-loop albums, there is also enough substance and subtly here to sharpen your mind against – just when you think you’ve been listening to a stable phrase for 30 seconds you perceive, buried in the glowing embers and vapor, a yawning organ concerto or an analogue gear malfunction rescued into exquisite loop patterning. Over continuous listens a depth of elements continually rise from the initially dark and watery abyss to the grey-scaled and disorienting surface. This music is as much evocative of the sharp winter cold as it is the mirages of summer heat, the murky deep as much as the smoggy zenith, and the charming mechanics of dusty analogue gear as much as a honed sense of intuitive craftsmanship directed toward allaying arrangements of saturated sonic material. Quartz reads the ambiance of the nether world through the split light of the celestial sphere. So much wickedness and tenderness.
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    Alec Cheer – Low Summer Sunlight On Water

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    Beautiful 180grm heavy vinyl in 3mm matt finished sleave decorated with photographs by Sally Chisholm & Alec Cheer…  Low Summer Sunlight On Water is the vinyl debut of Alec Cheer, and features 11 tracks of improvised piano music and found sounds. Recorded in the Mitchell Library in Glasgow and in the family home in Portessie. Mastered by Ruaraidh Sanachan (Nackt Insecten/Moon Unit). Released by Alec Cheer on his own Macrowhisker imprint. The album is dedicated to the memory of Sally Chisholm, Alec Cheer’s mother, who past away suddenly in September 2011. “I had been going to the Mitchell Library for the past couple of years to play the pianos they have in the rooms up on the 4th floor. I’m no piano player, I couldn’t play you a tune that you would know, I just love the sound of the notes harmonics and the sustain. I’m really drawn to the mystery and the feeling of limitless possibilities I get sitting in front of the piano. I’m interested in honest sounds, and the piano has a sound that is very real, when your playing it you a get a great sense of the physical structure and weight of the instrument. My approach was to sit at the piano, place the zoom recorder on top, press record and see what happens. Each piano has it own sound, My mother’s piano for example has a bassier sound and is in a bigger room which gives it a lovely warm texture. The sound the piano produces to me is meditative and enriching and I hope that tranlates in these recordings.” – Alec Cheer, Nov 2012
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    Mind Of Mirrors – Check Your Swing

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    Over the duration of Mind Over Mirrors’ “Check Your Swing”, these dense Indian pedal harmonium fogspheres, fizz like a cherry cola bottle springing a leak on a pottery wheel. Amped with tribalist percussions (“Mound Building”), strategic somnambulism (“Second Nature”), and a canny knack for recouping the archer’s phrase, creator Jaime Fennelly blames destiny for the moonlit sky, with Hands In The Dark label symbolism, whereas he’s actually closer to a sonic satellite. Likening himself to Quosp and Nova Scotian Arms sonically, MOM makes a killing on wheat flour, filtering through his tunes, up to closer highlight “Steady Miller”. Commencement “Breaking A Jam” bubbles with a raw energy that doesn’t dissipate. It enables me to wish, making a fresh word for this ‘in flux’ state: “rekinetics”. Meaning: ‘registration of an appropriate meaning or action through energy’. Pulse on “Check Your Swing” remains a steady 88bpm or so, with employed feints, and slipstreaming of different sonic measures, with capacity restraints. It’s where Mind Over Mirrors lets the grooves just chug it out like a cardiovascular sushi that he produces best results. Reasoning for the paradoxical somnambulism working is MOM’s records sound lost in hypersleep, having only muscularity to quantify reality, with a heavy undertow of stylus sleepydust. “Pass Into The Driftless” resonates fields of wholeness for this LP, also a great playlist ender. Simply put, “Check Your Swing” is well worth your money. – Fluid Radio
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    Hardwick / Jørgensen – Split

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    Limited edition vinyl LP packaged in a full colour matt sleeve… Nottingham-based guitarist and owner of Low Point, Gareth Hardwick, contributes a single nineteen-minute piece which is quite possibly his most fully realised and dynamic work to date. Sixteenth February Twenty Twelve sees Hardwick continuing his mission to explore and distort the pre-conceived notions as to what an electric guitar can sound like, while embellishing and developing his signature long-form drone techniques. The resulting track is a constantly shifting progression of deceptively complex melodies and phrases that are at once subtle and minimalistic, while enveloping the listener in an ever-evolving wash of sounds, textures and gently percussive elements. Contained within the piece are moments that are reminiscent of the early electronic experimentation of Klaus Schultz and Phaedra-era Tangerine Dream. Yet it avoids any form of misty-eyed nostalgia by maintaining an individuality that leaves one able to discover new and hitherto uncharted sonic territories, allowing the mind to wander freely while still remaining firmly rooted in the here and now. P Jørgensen, from Copenhagen, Denmark, is a composer, musician and sound artist whose work spans film, theatre and music ensemble. Jørgensen presents Four Pieces For Moreschi – a suite of four decidedly different pieces of processed musical interludes and field recordings. Leaning almost towards a musique concrète sound, Jørgensen’s work here is comprised of four very distinct parts of a larger whole. Beginning with dense, almost engine- like sheets of sound, Four Pieces could almost be some kind of sentient machine that organically grows as it progresses over time. Glassy and bell-like textures move into breathy and atmospheric zones, finally giving in to gentle and subdued melodies – a mere whisper of what came before and all the while maintaining a textural fragility which keeps the listener holding ones breath in anticipation of what is to come. Taken as a whole, this release is something of a juxtaposition – a collection that sounds that it may have been born both of nature and of artifice. A reflection of our times perhaps, or the soundtrack to a future that has yet to be written. Either way, it is a beautifully satisfying record and one which demands repeated and uninterrupted listening.
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