"REDRUM" consists of a total of three songs, each of which is a mix of sound sources recorded at Red Bull Studios in the summer of 2017, and this process and recording format are linked to the album "3RENSA". The part credits within this band are drums and electronics for Merzbow, electronics for duenn, and guitar and electronics for Nyantora. In this way, although this work "REDRUM" is an album of the band "3RENSA", its existence is ambiguously shown from the perspective of the mix of each of the three parties, and due to the creation of the band framework. The situation where the music is statically settled in some direction is avoided.
Rather, the direction that repositions the member as a mixer outside the band and makes the listener aware of the deconstructive relationship between the band (= set) and the member (= individual) is noise, ambient, drone, experimental. Impresses the fluid band that slips through the audience's desire to grasp the real image with unique terms such as rock.
It is not a document that contains the recording as it is, nor does it present a single musical concept, but it is to create and record three unique "3RENSA" from individual perspectives. And if the temporaryness and independence of the record imply the possibility of transformation and fluidity of the band, this work may be said to be the most sincere presentation from the band "3RENSA". Shuta Hiraki
1. REDRUM SESSION 1 – MIX BY MERZBOW
2. REDRUM SESSION 2 – MIX BY DUENN
3. REDRUM SESSION 3 – MIX NYANTORA
Rapidly following the cinematic avant-croon of his 'Executioner' single from David “Egyptrixx” Psutka’s Halocline Trance label, polymorphous Hamilton, ON producer Aaron Hutchinson returns with his debut LP, Potion Shop.
This concise eight song collection is aptly named, given the eccentric and intoxicating stylistic concoction it serves to unsuspecting listeners. Ostensibly a vehicle for songs by a diverse cast of guests (spanning everything from ethereal folk to esoteric rhymes, from sunburnt soul to lysergic lullabies), Hutchinson’s distinctive and decidedly psychedelic arrangements tie it all together. Crisp wind arrangements crawl forth from thick synth haze; 808 drums rain down on choruses of birds, and muffled pianos meander past distended, muck-encrusted drum samples.
Potion Shop’s extensive list of collaborators speaks to the wildly varied nature of Hutchinson’s rich musical life. It includes contributions from Hamiltonian vocal protagonist Sarah Good, Benita Whyte of Persons, Doom Squad’s Allie Blumas, pre-eminent MC Emay, celebrated musician and slam poet Ian Keteku, and even Kirk Starkey of classical fusionists Quarteto Gelato. The record will be available on LP, CD, and in digital formats, but visual artist Eccina has also crafted an interactive and thoroughly hallucinatory landscape that can be downloaded to offer listeners complement to the album.
Hutchinson has been a vital contributor to his hometown’s burgeoning underground music community. He co-founded the recently-defunct venue HAVN (Hamilton Audio Visual Node) which was touted by Vice as “the Best DIY Venue in Hamilton” in 2015. He also spearheaded their in-house label whose roster included Eucalyptus whose Kick It Till You Flip It was one of Magnet Magazine’s best Jazz releases of 2019. In addition to winning several local prizes including the Shirley Elford Emerging Artist Prize in Music, Jazz Recording of the year from the Hamilton Music Awards, and an Emerging Artist in New Media (Hamilton Arts Awards), he’s a member of several crucial Hamilton outfits. There’s the FX-mangled free-jazz duo Eschaton, whose Arachnidiscs tape Torus sees them collaborating with Matt Tavares and Leland Whitty of Bad Bad Not Good. Meanwhile in the vibrant jazz-fusion/ hip-hop anomalies Haolin Munk, he acts as drummer and producer. Hutchinson also been heard collaborating with everyone from fried dance music denizen JFM to sleek electro-pop songstress Allie X, not to mention the likes of Lea Bertucci, Ellis, Zoon, YlangYlang, and Daniel Romano.
Pop the cork on Potion Shop and drink it down for an all-too-fleeting trip across a musical terrain that’s disorienting but also warmly familiar.
In the widening realms of uncovered European Outsider Art and maligned musical enigmas, the composer most commonly known as A.R. Luciani continues to exist on the extreme outer limits. Despite his unwaning commitment to the Italian avant garde and extensive production for the film industry, his work remains undocumented in almost all the excitable documentaries, books and retrospectives on the subject made in recent years. Trust Andy Votel, Sean Canty and Doug Shipton to put that to rights - with this first-ever collection of his music, representing what Votel describes as “just the tip of an iceberg in a very deep ocean”. It represents a stunning haul of largely unheard material offering an immersive overview and the first contemporary assessment of this seldom-scanned musical mastermind. Followers of Teresa Rampazzi, Daniela Casa, Roland Kayn, Maurizio Bianchi or the wider Gruppo di Improvvisazione Nuova Consonanza universe need to delve deep into this one.
‘Elettroencefalogramma’ scans the full breadth of solo experimental composition by Antonino Riccardo Luciani, revealing a strong, prescient, frankly shocking line in mind-bending, fathoms-deep work with tape and early, pre-synth devices. Awarded unprecedented access to the polymath composer’s archive of inter-disciplinary work, Andy Votel follows his pressing of Maria Teresa Luciani’s ‘Sounds of The City’ with this first compilation survey of her sibling’s vast catalogue. The set falls deep within the label’s remit of reissued and previously unreleased work by overlooked and undocumented pioneers of 20th century sound, revealing a distinctive mix of material that nods to contemporary, tape music, neo-classical, jazz, electro-acoustic and counterpoint composition.
Drawn from original tapes recorded during the 1970s, ‘Elettroencefalogramma’ spans the heyday of Luciani’s work, before synth music was popularised. In this sense it’s worth noting Luciani’s links with Teresa Rampazzi and the pioneering electroacoustic group NPS - and namely Serenella “Serena” Marega - with whom he shares a strong affiliation toward embracing the possibilities of new music at the dawn of an unprecedented sonic epoch. There’s a sense of being in transition between worlds and eras in the opening blend of melancholy strings and bubbling electronic rhythm ‘Battery Farm’, and likewise the cranky mixture of bestial growls and dissonance in ‘The Zoo’, while the rattly rhythm of ‘Offices’ uncannily recalls Trunk’s recent issue of ‘Mechanical Keyboard Sounds’ from the modern day. But Luciani excels at quieter, introspective styles, as with the flute-led vision of ‘Desol 2’, and most remarkably in the stygian, primitive drum machine pulse and clammy string drones of ‘Forest of Chimneys’, which is surely crying out for imagery of Satanic mills, while the rupturing tape of ‘Bombardment’ sets him firmly in a lane of advanced Italian noise that connects him to Gruppo’s Roland Kayn and Maurizio Bianchi.
Needless to say all of the material compiled here is taken from records that are incredibly rare and which were never intended for commercial release. It serves as a multifarious toolkit portfolio of Luciani’s most introspective, intimate, individualistic and uninhibited studio experiments - compiled and assembled in collaboration with the artist himself, whose vast and incredible oeuvre will hopefully now be made available to a new generation of listeners.
Abul Mogard makes an ever welcome return with a suite of starkly brooding shoegaze drone pieces mostly generated from an old Bechstein upright piano built in 1891. If yr into Cocteau Twins & Harold Budd's 'The Moon and the Melodies', Deathprod, Ryuichi Sakamoto or Jim O’Rourke, this one’s for you.
Inspired as much by the instrument’s rich harmonic textures as the Italo Calvino short story that lends the album’s track titles, ‘In Immobile Air’ collects five works written by Mogard during the ill-fated Spring of 2020. Thematically, the album dwells on Mogard’s typical concerns with memory and states of mind, and comes to feel like the musical rendering of a soul preoccupied by their mortality. As such, it can be read as a suite of instrumental hymns for a world coming to terms with its current condition and state of static unrest, evoking a stillness of air in its glacial movements while reflecting a gnawing sense of something impending. Yet, it’s simultaneously and quite profoundly soothing in its widescreen harmonic shifts along the knife-edge between bliss and dread.
The album arrives after a pause in Mogard’s prized oeuvre since 2019’s ‘And We Are Passing Through Silently’ with a humbly arresting presence that perfuses all of his best work and keeps his listeners rapt for more. The handful of pieces speak to both Mogard’s rich inner life, and the inner voice of his instrument. Using analog and digital equipment, he transforms the melancholic simplicity of his melodies into a quietly dreamlike space. The title track lays out this bare aesthetic with wilting, elegiac notes that vaporise into a timbral thizz, before its brooding course takes in the oblique beauty of ‘Clouds’ and tarry drones recalling recent Deathprod moves in ‘Black Dust.’ He finally emerges from the murk most poignantly with the clearer keys of ‘Sand’, only to shore up somewhere more contemplative and abstract, in the low key magisterial expanse of ‘On a Shattered Shell Beach.’
Abul Mogard’s devastatingly bleak soundtrack for Duncan Whitley’s experimental short film offsets the barren, stony landscape of a small, isolated island against a backdrop of fizzing drone dynamics and indrawn shoegaze inversions. It's perhaps Mogard's most carefully constructed and engrossing set of recordings to date, highly recommended if you’re familiar with Mogard's unique synthesis, or work by Thomas Köner, My Bloody Valentine or William Basinski.
Mogard's darkly sublime soundtrack for ‘Kimberlin’ , an experimental film about the Isle of Portland on the English south coast, coincidentally doubles up as metaphor for the mood of an increasingly inward-looking UK and our often desolate mental states. Taking its name from the local word for an outsider or “foreigner”, ‘Kimberlin’ was filmed on location during the months following the referendum of 2016 which lead to the current, purgatory state we find ourselves in the UK right now.
Combining mostly wordless, lingering shots of the Isle of Portland’s bleak and rugged landscape with Mogard’s washed out but richly evocative music, made with manipulated field recordings, modular synth and layered Farfisa organ, the project came to reflect a sense of (be)longing, loneliness and outsiderness that also perhaps uncannily mirrors the putative collective feeling since that darkly historic vote, over three years ago. Taking cues from the evocative poetry of lifelong islander, stonemason and poet Cecil “Skylark” Durston (1910-1996), as well as a news report on the discovery of a mysterious cinema found interred by foliage in the Isle’s cave systems, the merging of image and sound speak to their subject in an organic, impressionistic manner that leaves billowing room for imagination.
Mogard’s soundtrack opens out with a slow-burning, greyscale iridescence, tenderly manipulating the sound of fog horns and bird calls in briny modular spray and gloaming Farfisa organ swells that, when combined with song titles such as ‘Flooding Tide’ and ‘Playing On The Stones’, serve to evocatively connote the film’s subject matter. The results can be heard as echoes in the digital future of an England that’s now difficult to grasp, most hauntingly transposing the meaning of Cecil “Skylark” Durston’s description of the Isle of Portland as a place where “quarry bells no longer ring, except in old men’s dreams” to the ever-present, never-ending riddle of Brexit and its generationally devastating bleakness.
For the first time ever, Vampisoul, the sister label of Munster Records, is reissuing this Argentinean Balearic Jazz/Fusion masterpiece. The album was released on Vampisoul, a sister label of Munster Records. This is a fantastic album by one of the top Argentinean musicians who left his work for "Melopea Discos" under the direction of Litto Nebbia. This is an ethno-fusion/jungle ambience masterpiece with rich sonic nourishment and Brazilian flavors. Includes an insert with unpublished photos and notes. Highly recommended for fans of obscure South American music such as "Outro Tempo" (Music From Memory) and "América Invertida" (Vampisoul) as well as Azymuth, Mono Fontana and Motohiko Hamase!For the first time ever, Vampisoul, the sister label of Munster Records, is reissuing this Argentinean Balearic Jazz/Fusion masterpiece. The album was released on Vampisoul, a sister label of Munster Records. This is a fantastic album by one of the top Argentinean musicians who left his work for "Melopea Discos" under the direction of Litto Nebbia. This is an ethno-fusion/jungle ambience masterpiece with rich sonic nourishment and Brazilian flavors. Includes an insert with unpublished photos and notes. Highly recommended for fans of obscure South American music such as "Outro Tempo" (Music From Memory) and "América Invertida" (Vampisoul) as well as Azymuth, Mono Fontana and Motohiko Hamase!