Originally released in 2009 on CD in an edition of 500. Packaged in a stickered and hand numbered white arigato pak, wrapped in hand stamped brown kraft paper and tied with string. Each copy came with a full colour insert and an individual vintage photograph.
Re-issued in 2010 in an edition of 50 CDrs (no cat.) in a stickered white arigato pak and textured paper insert.
Re-issued again in 2011 on Vinyl in a limited edition of 250. Pressed on 180gram virgin Vinyl (pressed at Record Industry) and housed in a full colour hand numbered tip on sleeve from Stoughton.
“The Last Line” by Tammar // from the forthcoming album, Visits
There’s been a rash of great tracks lately that sound like some great bands of the early 120 Minutes days. That era of “modern rock”, or the birth of alternative. Tammar just kills it here with a psych pop lean into that direction of early alternative throwbacks. This song is absolutely killer and you can grab it for free at Pitchfork. I am currently on a mission to find more from Tammar, immediately - because this is that good.
Nils Økland has firstly caught the attention with folklore-inspired album Monogram, his debut on prestigious ECM label. Solely based on his chattering, flexible violin and fiddle, Monogram presented a monolithic and detailed insight into the folklore material of olde times in Norway. However, these weren’t verbatim interpretations of local songs - Økland brought improvisations and his own point of view on those works. Monogram is beautiful for its freedom and free space created by Økland’s deep academic and also practical knowledge in many kinds of Norwegian folk music. Therefore, he’s able to present his own understanding of the music with ease and fresh wit.
His new piece of work for ECM is more focused and specific: interpreting the rich work of Norwegian romanticist composer Ole Bull in collaboration with organist and theorist Sigbjørn Apeland; all happening on Bull’s own island Lysøen, situated near Bergen. Following Økland’s passion for improvisation and own re-interpretation, Lysøen is once again freer piece with lots of influences and, of course, intense outlook on Bull’s own work.
La Mélancolie is present twice on the album - it’s second version is more appealing and captivating. Whereas the first take is a psalm-like cry for violin and piano, both playing more like two solo instruments, this second version is richer and more seductive. Instead of slow building the atmosphere, both Økland and Apeland fall into deep melodrama with fascinating harmony and inner cooperation between both instruments’ free movements. La Mélancolie is an emotional experience of a grief and tense in folklore music. Lysøen - Hommage à Ole Bull is another must-hear document on old Norwegian folk. (Be sure not to overlook this insightful classical review.)
Paul Jebanasam, in celebration of his relaunch of the Subtext label and in anticipation of his forthcoming album on the label, presents a live concert recorded in May this year at the first Subtext event held at the Church of St John the Baptist, a 14th-century church in Bristol’s Old City wall.