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Artist: ROBEDOOR
Album: Primal Sphere
Limited edition of 400 copies on black vinyl w/ mp3 download voucher
Release date: 14th May 2013
www.robedoor.tumblr.com
Label, orders: www.handsinthedarkrecords.com
*Excerpts from the album. Now available at Experimedia.net.* It took Nick Edwards nearly two decades to release a new full-length under his own name, but after Editions Mego issued “Plekzationz” in late 2012 it seems as if they have opened up the veritable creative floodgates. He reappears on the acclaimed label with “Trainwrekz” under his Ensemble Skalectrik moniker that is more idiosyncratic and improvisational in nature. The album was crafted primarily from esoteric vinyl LPs that have been manipulated with a number of out-board processors and effect pedals to create a psychedelic and plunderphonic journey that is unexpected and challenging at every turn. “Trainwrekz” is nearly incomprehensible on the first several listens with sound effects and randomly looped sonic debris spraying erratically all over the sound field, but it’s an adventurous journey worth repeating. – Ryan Potts, Experimedia
Ensemble Skalectrik is a side-project of Nick “Ekoplekz” Edwards. Previous emissions include the self-released psycho-geographical abstraction of Snuff Mill Tapes and a homage to Maurizio Bianchi via Feral Tapes. Focusing entirely on spontaneous composition and one-take improvisation, Ensemble Skalectrik represents the most raw, extreme performance-based electronic music in Edwards’ repertoire. On Trainwrekz, Edwards has dusted-off his turntables, grabbed a stack of old vinyl (mainly sound effects and easy listening albums), added a selection of sound-shaping devices (filters, equalizers, loop-pedals) and proceeded to record a series of delirious, derailed sonic sketches that sound like nothing else in his rapidly expanding discography. Ranging from the portentous pile-up of “Wrekwahn,” the oppressive atmospherics of “Wrekfore” and the serene ornithological drift of “Wreksikz,” these half-dozen pieces document the emergence of a highly personalized form of turntablism that incorporates elements of chance, drone, dub, hauntology, musique concrète and free improvisation. Performed and recorded in three sessions during the month of November, 2012. Additional production and mix January 2013. Active participants: Alesis Nano Compressor, BASF Chrome cassette (x2), Belcat Delay, Chance, Danelectro “Reel Echo,” Ekdahl “Moisturizer,” Electrix “EQ Killer,” Electro-Harmonix “The Worm,” Muza FD900 “M Ambience,” Nick Edwards, Rocktek 6 Band EQ, Stanton STR8-30 direct drive turntable (x2), Yamaha MT3X cassette multi-track and a selection of vinyl LP records.
My Drunken Haze - Gambling Woman
My Drunken Haze’s Gambling Woman is a filthy, dirty wall of sound to the long roster of the psych/garage industry. A pure, cathartic psychedelic rockn’roll that brings shivers down your spine with its raw groove of ’60s frenzy guitars that sounds like a lost nugget played by a contemporary soulful band rooted in the past! A feet moving monster that slaved my heart and soul…. Bravos!!!
Listen/purchase Before the Storm Came by FELiXDROiD
First track from Nadja’s forthcoming album “Flipper”. Out on Oaken Palace Records beginning of May.
Track taken from the new album ‘Burnt Up On Re-Entry’.
Full review here:
www.fluid-radio.co.uk/2013/01/boduf-songs-burnt-up-on-re-entry
Title track of Caudal’s debut album.
Pre-order here, http://losttribesound.com/barter/graveyardtapes/
Download Press Kit: https://dl.dropbox.com/u/9167989/Graveyard-Tapes-Mini-Press-Kit.zip
Edinburgh, 2010. In bereavement, homesickness and uncertainty, two artists create three tracks. Even the names are stricken: “Gravebell,” “Blood Bridge” and “Wolves.” With time the first of these songs will begin a fascinating debut, percussion dancing on the head of a pin, now a rusty harmonica producing metallic, ambient vibrations. But it is not a harmonica. It is a piano run through the some of the producer’s innumerable manipulations.
Graveyard Tapes are Euan McMeeken and Matthew Collings. McMeeken (vocals, piano) is known for fronting the chamber pop ensemble The Kays Lavelle, for his solo piano work as glacis, and for his independent label mini50 records. Collings (guitar, production) is notorious for his highly experimental solo material, his collaborations with Dag Rosenqvist and Talvihorros, and for his sorely-missed alias Sketches For Albinos. Our Sound Is Our Wound is their collaborative debut, and marks the triumphant synthesis of both art forms, combining McMeeken’s tapwater vocals and delicate piano arrangements with Collings’ electronic wizardry and percussion innovations.
The two ostensibly divergent styles are never at odds. To the contrary, one deftly compliments the other. Those earlier sessions feature pure, slow, minor key piano melodies and aching vocal lines, with backgrounds popping and crackling as if on fire. The sound sources chirp and rattle with Collings’ laptop alchemy, at times collapsing under the weight, yet the samples and field recordings never draw undue attention to themselves. The song is the thing.
Most of the recent material is uptempo, alive with Collings’ scurrying percussion and agitated guitar form. A rarity among the DAW generation, Collings delights in letting drum strikes miss the mark, opting instead for a sloppy but willing cascade of thuds, clicks or shots. The effect is somehow precisely on tempo when taken as a whole. Much of his forthcoming album Splintered Instruments was produced by Ben Frost and – as sonic comparisons go – Frost’s atomized compositions are a good start. Yet the soft undergrowth of processing matched with the aching, everyman falsetto recalls Kid A-era Radiohead. McMeeken’s startling lyrical metaphors and the flickering light of his piano are timeless, resistant to easy comparisons.
From the pulsing complexities of “Gravebat,” to the kinetic, guitar-fueled elation of “Hunting For Statues” and the trembling vocal hooks throughout “Insomniac Dawn,” Our Sound Is Our Wound is a bold statement, and should stand as a defining moment for both of these young, intriguing talents. This is dark pop with a broken heart and a lab full of boiling digital experiments.
www.facebook.com/graveyardtapes
www.losttribesound.com
Artwork by Jamie Mills www.jamiemillsillustration.blogspot.com
Helios shop: http://unseen.bigcartel.com/
An as of yet unreleased Helios track.
For licensing inquiries please contact Keith via unseen-music.com/contact
A diving into solar streams featuring João Diniz on digital programming and text, Rick Bolina on guitars, saxophone by Maria Bragança, actor Leri Faria on voice and also Dorota Wisniewska reading her poem in polish language. This is the track 10 closing the cd Ábaco released in 2012 by Pterodata (Joao Diniz).
……….
o rio nunca é o mesmo
a esmo passa líquido
e não chora devora
sua água mata a sede
na rede de lembranças
recordações e canções
a seca entorna a mágoa
a lágrima rega o sonho
do olho em corpo úmido
por um sorriso breve
jorram palavras
a dizer a vida como história
emoção ficção sem dono
que por dedos escorre
lavando a existência
impossível retê-la
náufraga no misterioso lago
no vento do campo chuvoso
no reflexo em chão molhado
não existe cenário pronto
para a lavada alegria que evapora
e chora em ciclo
que afirma e questiona
que duvida e inventa
a ficção da transparência
o risco da liberdade
a gravidade da curva fluida
que desce com a matéria
e sobe com a leveza
