- 01. Elementos
04. Meditación y acercamiento a la Génesis
05. El vuelo del "Bú" ácromo y el despertar del "Bú" rojo
07. Perdido entre las arenas del Siroco
08. Un instante en el vértice
09. El paisaje posible
10. Sobre cómo las lavas cubrían la isla
Erosion[engl] Spooky, meditative soundscapes inspired by the desolate volcanic environment of Lanzarote (Canary Islands), created using Minimoog, Polymoog, vocal loops and field recordings. Originally recorded in Germany in 1978 by Spanish painter / sound artist Ildefonso Aguilar, only a selection of the original recordings were released a few years later on a very rare limited edition cassette and LP. Now, for the first time ever, “Erosión” is reissued on 2LP featuring the complete recordings, as Ildefonso conceived it at the time. “Canary Islander Ildefonso Aguilar is best known for his paintings and surreal photography of the desolate volcanic wastelands of his homeland. He was also organiser of concerts at the Jameos del Agua in Lanzarote, a regular event which has featured the likes of Michael Brook, Roedelius, Steve Roach, and numerous other luminaries of ambient and atmospheric music. But, for his own music Ildefonso has never gained the mass recognition he really deserves. “Erosión”, recorded in 1978, is certainly one of the most fascinating of synth albums I've heard. And, it's remarkable really, if you consider all the technological advances that have happened since, what with digital synthesizers and samplers, that this music created entirely on analogue synthesizers still sounds so fresh and original. Okay, I know in the past that I compared Ildefonso's use of melody to more atmospheric Neuronium, and the mood of the music to early Klaus Schulze, Conrad Schnitzler, and Edgar Froese circa AQUA, but in retrospect it's really a forerunner to the acclaimed spacious works of Michael Stearns and Steve Roach (I could also quote Kevin O'Neill here, as to the use of ambiguous melody and texture), but besides all that “Erosión” has a style all of its own. As if the sonic description of mist swept rocky plains, rumblings from beneath the earth, the eerie power of nature looming. Beautiful yet strange, unnerving yet calming. Even more so, at 1¼ hours, “Erosión” reveals itself as a grand conceived suite, as themes recur in an almost ghostly fashion, as tension builds upon tension, and threatens to explode, which it never quite does! Extraordinary all the way through.” - Alan Freeman (Audion Magazine)
- EAN 4040824086756
- 01. Silent City
04. Eternal Warfare
05. Im Daemonengarten
06. Not A Film Theme
07. Who Will Bother
09. Lab Rats, Escape
10. The Scientist's Monologue
11. Black Pyramid
Lab rats, escape!Abstrakte Elektronik und Psychedelik, Found Sounds und ihre gefilterten Freunde sind allesamt kein zwingender Widerspruch zum Song.
- EAN 9120047540237
If We Can´t Dream, They Won´t Sleep!![engl] Strange connections -- Bilbao meets Japan via Berlin on a record that will put you in a constant state of WTF. ASMR rock? Post-internet punk? A political manifesto in times of generalized madness? After his acclaimed 2017 destructo-punk single on Munster Records, Al Karpenter now delivers his mature, complex debut LP on the world's premier record label for adults, New York City's Ever / Never. Al Karpenter is an elusive figure. On this record, he comes off like "Che" Guevara fronting Suicide in the year 2020: In halting, quivering tones, he warns us not to fall asleep, even as he slips into a dream state; he reminds us that we must not give up hope even in these times of collective self-destruction; then he shakes our very core with an agonizing scream. There is no resignation, no giving-up, and no mourning for a lost future in his work. Instead, Al Karpenter pits the burning energy of the present moment against older underground musical forms, playing things "wrong" as a technique for exposing the fundamental wrongness of consensus reality. His record is a puzzle, a conundrum, at once conflictive and erotic, violent and beautiful. Yellow Green Red's Matt Korvette described Al's debut single as ”Very deconstructed and cuckoo, as if one of Fushitsusha’s psychic jams was condensed into a couple minutes of indigestion" -- a perceptive appraisal, seeing as Al is now joined by time-bending drummer and percussionist Seijiro Murayama, whose early credits include Fushitsusha’s Double Live. Further strange connections include key players from Bilbao's exploratory music scene -- drummer Joxean Rivas of Bilbao's demolition unit Killerkume, experimentalists María Seco and Mattin -- alongside the legendary Chie Mukai, of Japan's Ché- SHIZU and the seminal East Bionic Symphonia school of improvised music. Tying it all together everything are the lucid sexophone and electronics of Lucio Capece. If it is no longer possible to dream of a just and equitable future, Al Karpenter's answer is to shout desperate truths, to disrupt the notion that "weird" music is the province of the connoisseur, the specialist. For Al Karpenter, the ugliest racket and the most sensual textures are instruments for change. He transforms his angst, fragility, and sense of powerlessness into a force for destroying(-)destructive Nonsense. Al Karpenter's love-cry, his healing force, is violent and fragmented and paradoxically smooth. Things are not right, he insists, and we will not make music that pretends they are. -e/n
- 01. Historia de un Pueblo por Nacer ou Carta Abierta a Vassili Vassilikos y a todos los Pesimistas
02. Cinta Cita
03. Auto-Retrato Sobre Paisaje Porteño
04. Valsa Sideral
05. Contrapunctus Contra Contrapunctus
Musica Eletronica[engl] Originally released in 1975, “Música Eletrônica” is considered the first electro-acoustic / electronic album made in Brazil. It features tracks recorded between 1962 and 1970 by avant-garde / electronic music pioneer Jorge Antunes. Early electronic oscillations, white noise, feedback, loops, tape manipulation, treated vocals and proto-minimalism / sampling / glitches Mandatory to anyone into Pierre Henry, Iannis Xenakis, Pierre Schaeffer, Ralph Lundsten, Louis & Bebe Baron, Ihlan Mimaroglu, Morton Subotnick, Stockhausen… Born in 1942 in Rio de Janeiro, Jorge Antunes is one of the earliest composers of electro-acoustic music in Brazil. During the early 60s, he built his own components for making electronic music: theremin, sawtooth oscillator, a spring-reverb device, a frequency filter… The works included on “Música Eletrônica” were recorded at Antunes’ home studio and at the Electronic Music Laboratory of the Institute Torcuato Di Tella, in Buenos Aires, Argentine. We can find early pieces like “Valsa Sideral” (1962), on which Antunes uses artificial echo and reverberation by feedback between the recording heads to create the first Brazilian work consisting only of electronic tones. “Auto-retrato sobre paisaje porteño” (1969 / 1970) is an amazing piece of early turntablism on which Antunes “samples” an old tango vinyl record found at a flea market, using it as a loop and for sound effects / manipulation, adding a different, “electronic dance” version to it, mixed with electronic sound effects and cut voice manipulation / sound poetry. It sounds years ahead of its time and it’s a precursor to the dance / downtempo music from the following decades. The version included here, features the audio collage which Antunes created to criticize the military regimes from Brazil and Argentine and which wasn’t used on the original LP to avoid any problems with censorship. “Cinta Cita” (1969) was the first piece recorded by Antunes at a professional studio. Pure electronic sounds and pulsating rhythms using filtered noise and synthetic sounds created by additive synthesis. “Contrapunctus versus contrapunctus” (1962) was created using tape splicing, micro-assemblies and tape manipulation. "Historia de un Pueblo por Nacer or Carta Abierta a Vassili Vassilikos y a todos los Pesimistas” (1970) with its sinoidal sounds and low frequencies was inspired by the plot of the novel and film ‘Z’ by Vassili Vassilikos. In the original audio of this work, Antunes used a quotation from the International Communist anthem. To avoid problems, he cut that passage for inclusion on the original LP. But you’ll find here the uncensored, original version. In 1970 Antunes had done research at the Institute of Sonology at the University of Utrecht with a specialization in Computer Music (working with the Electrologia X-8 computer). During the 70s at different occasions he had worked under guidance of Pierre Schaeffer and Iannis Xenakis amongst others. Mr. Antunes is presently Director of the Electroacoustic Music Studio of the University of Brasilia and President of the Brazilian Society for Electroacoustic Music.
- EAN 4040824086343
- 01. First Light
02. French Passport
03. Respect The Road
04. Street Without Lunch
05. Why Blondes Eat
06. I Don’t Want
07. Hell’s Little Ransom
08. Forced Delight / Debris Factory
11. Keep The Letters
13. I Walk The Lawn
14. The Big Horizon
Clear Memory[engl] Formed in 1978, Bomis Prendin is a collective of experimental "noisicians" from Washington DC, pioneers within the DIY, Industrial, cassette culture and experimental electronics scene. Using cassette recorders, mutated musical toys, electric guitars, bass, rewired circuitry, analog pedal effects & cheap keyboards, they recorded and released in the late 70s a couple of astounding flexi–discs (Test and Phantom Limb) which led to them being included on the infamous Nurse With Wound list. "Clear Memory" was originally released in 1984 only on cassette (50 copies) and it’s an incredible example of DIY mutant psychedelic pop and homemade electronic weirdness which sounds years ahead of its time. Here’s the first ever reissue.
- 01. Chinese Food Part I
03. Like Me
04. Chinese Food Part II
05. Oceans In My Ears
06. Dogs’ Ears Are Stupid
07. Australia / The Sleepwalker Bites Herself In French
08. European Trains
09. No Beethoven
CARE OF THE COW
Dogs Ears Are Stupid[engl] Originally released only on cassette in 1983, "Dogs’ Ears Are Stupid" by Chicago trio Care of the Cow is a fascinating blend of psychedelic folk, minimal electronics and post–punk weirdness. Acid fuzz guitar, incredible vocal harmonies, drum machines, analogue synths... One of Chicago’s best kept secrets, Care of the Cow’s history goes back to 1974. A trio formed by Victor Sanders, X Baczewska and Sher Doruff, they had a very unique and eclectic sound, experimental yet very melodic, mixing psychedelic folk–rock with art–rock and DIY / post–punk. Their influences were very diverse: Beatles, Fripp, Eno, Joni Mitchell, Carla Bley, Pauline Oliveros, Eric Dolphy... Care of the Cow debuted in 1975 with a 10" followed by their first LP album in 1981. By 1983, the band was adding drum machines and synths to their sound, highlighted by Victor’s amazing guitar playing and X & Sher’s perfectly blended vocal harmonies, resulting in "Dogs’ Ears Are Stupid", the second Care of the Cow album, released only as a tiny cassette edition in 1983.
- EAN 4040824088804
Midnight Climax Operation[engl] Midnight Climax Operation represents Cyanide Tooth’s continued research into paranoid states of existence and chance methods of sound-sculpting. Side one of Midnight Climax Operation is a patchwork of intriguing and unnerving sonic explorations. Cyanide Tooth utilizes tape manipulation and other lo-tech methods that recall a time before ProTools and infinite plug-in options. “Heartburn” throws all the cards on the table, encompassing sarcastic tape abuse, skipping CDs, old-school guitar noise and breakout hip-hop beats. “Headline/Heartline” takes a day trip to the death factory as torrents of noise coalesce around an urgent narration that plays out as if Biting Tongues was jamming with Throbbing Gristle. “American Cherry Burst” is pure, righteous scree intent on revealing false truths, while “Press The Mesh” comes on like early Coil captured in a late-night basement session. The side concludes with the frenetic beats of “Techno Animus” and the creeping dread of “Shadow Enforcers,” which recalls Ike Yard and Cabaret Voltaire. On side two, Cyanide Tooth hijacks the listener’s brainstem for an LSD-fueled investigation into chance operations. Performed live with no edits, “Operation Midnight Climax” is a feat of turntablism and juxtaposition, yielding a sonic narrative that picks up steam as it hurtles towards the outer regions. WWNWWD? Somewhere, Steve Stapleton is nodding approvingly. With Midnight Climax Operation, Cyanide Tooth delivers a dangerous package -- handle with care. -e/n
The Whole Tooth & Nothing But...[engl] Cyanide Tooth is the solo noise project of New York's Erick Bradshaw H, and this debut cassette is recorded half live in Indiana, half done in NYC. The electronics that feature throughout the first side are harsh, but not very aggressive. There's plenty of room for voice manipulation among the sounds of crickets dying in flames and whatnot. Meanwhile the flip uses samples of a woman's voice to rather paranoia inducing ends.
- 01. Ocarina Belt
02. Shit Forest
03. Prise Sur Maison-Roche
04. Divination Par Les Brosses
05. Soft Archery
06. Ghoulio Stairtrap
07. Prise Sur Maison-Mère
09. All Noticeable Theories
10. Spiritisme Et Nouvelles Technologies
DANSE MUSIQUE RHONE-ALPES
Shit Forest[engl] Loup Gangloff is Danse Musique Rhône-Alpes, half of Deux Boules Vanille, who hits, among other things, on wooden brackets. DIY clubbing. A techno, so square in the soul, made with a wobbly appartus, just so we are always anticipating him to take a tumble. We're at the funfair, around the ghost train: "Do you want some more ?"
- 01. Dulled
02. Turmoil Dosage
03. Defective Structures
04. Post Autopsy
Defect Play[engl] Their self titled debut, which consists of four caustic dekompositions, is a bleak and industrial thing filled of layered percussion, wild power electronics, masked vocals and hostile guitars. It starts with sharp stabbing loops and almost jump scares in the first track, moves to a throbbing dystopian rhythm, anxiety builds to climax and teases release by the end of the side. The flip slowly creeps back down to the uncertain hell that we started in. A constant nightmare. A continual circuit exposing issues of imperfection, overstimulation and misrepresentation. This is unpleasant musick. 300 copies of 150gr translucent red vinyl housed in a 24pt reverse board jacket with an 8 page booklet and download card included. All art, recording and mixing by DEFECT PLAY. Mastering by Will Killingsworth.
- 01. Expansión Galáctica
02. Los visitants de Sirio
03. La Pipa de Lucas
04. El Nacimiento Diario
05. La Ceremonia
06. El Misterio de Tihuanaco
08. Transfiguración del Iniciado
09. Bo Bo Bo Beu
10. Paren la Contaminación del Aire
EMILIO APARICIO MOOG
Expansion Galactica[engl] “In 2010, I was searching for old records in the city of Quetzaltenango in Guatemala. I found myself in a dusty basement which had been in another time the warehouse of Iximché, a rock-o-la machines distributor. It was an exciting discovery, two big rooms full of old 45s but also dust and rat’s dung. Among some incredible finds, I found two strange private 45s which had been released by local drink company. The song titles, “Brujería” (“Witchcraft”) and “Transmutación del iniciado” (“Transmutation of the initiated”) matched perfectly with the abstract psychedelic/electronic instrumental Moog sounds emanating from the grooves. I was fascinated and I knew I had a mission: to discover and tell the world the story behind Emilio Aparicio Moog. After seven years, I finally managed to locate all of his recordings, eight in total.” – Ruffy Tnt (Discodelic) Emilio Aparicio was an electronic experimental musician from Guatemala, a pioneer in using the MOOG synth in Latin America. He released a series of private 45s, recorded at his home studio in collaboration with his patron and producer, the painter Roberto Abularach. In 1969, Roberto travels to New York, where he purchases one of the very early models of the Moog synthesizers directly from Robert Moog. He brought it back to Guatemala and he gave it as a present to his friend Aparicio. It is during those years, 1969-1971, when the recordings included here, featuring primitive drum machines and the Moog synth, are registered. Most of the tracks were written at the country house of Abularach, where Emilio built his own home recording studio and where he spent long periods of seclusion. It is in this house where they also spent weeks experimenting with hallucinogens (LSD and Datura) in the company of other artists, painters, poets and musicians from the underground arts scene of Guatemala. The fruit of those two years of experimentation were released in less than one month as five volumes of a 45 housed in a generic picture sleeve and titled “Música Electrónica” (“Electronic Music”). These strange records were never sold at shops: they were given away in exchange of four corks of a local drink called Salvavidas Roja, related to Abularach’s family. As you can guess, the response was not that great, as the experimental music of Aparicio was too advanced for its time. Most of the 45s were destroyed and recycled and soon after Emilio created another experimental project, La Banda Plástica, releasing a couple of 45s for the biggest record label from Guatemala which also went nowhere. Aparicio’s music is a fascinating blend of primitive homemade electronics with Latin influences. Imagine “Psyche Rock” era Pierre Henry, Gershon Kingsley and Bruce Haack meeting Joe Meek at the Guatemalan jungle and you’re there. Emilio Aparicio passed away on 2012 . As his wife says, when he died and went to another dimension, it was as if he took with him all the energy from the electronic devices from their house: “it was a very strange thing, just everything died with him.” Here’s for the first time ever the collected works of this unsung DIY hero which will blow the mind of any vintage electronica fan.
- EAN 4040824087463
- EAN 4040824087470
- 01. Burn First Then An Affront
02. Lions To Poach
03. Marta Kya Na Karta?
Denigration Rapture[engl] A masterful amalgamation of sinister tape loops and unsettling industrial clangs makes 'Denigration Rapture' a hypnotic conflagration replete with pulsing Kraut drones, sampled vocal/musical textures and crunchy power electronics. You can feel the unnatural barbs of the dark forces sinking in while they slowly lull you down to depths and hold you there forever. Drown in this glory. Like the other singles in series 3, there are 300 copies on black vinyl with hand stamped labels housed in a hand stamped j-card sleeve. A one-time pressing.
- 01. Farishtagi
02. Recitation In Steps, Each Phrase Repeated Twice
03. A Gateway Drag
04. A Lurking Conceit
05. Formative Assessment For The Abstinence Theory Of Interest
06. Unregulated Individual Actions
08. Unmetered (vinyl only track)
09. May We Both Attain Spiritual Effulgence Together / May We Both Together Become Famous
10. God’s Prison Yard Of Converts
11. “And The Earth Is My Footstool” (vinyl only track)
12. I Accompany The Work
14. Once Upon A Time In Somnath
15. Incomplete Guided Meditation
16. Possession If 9/10 Of Samsara
Desecration Anxiety II[engl] From humble beginnings as a do-everything-yourself-because-people-aren't-ready-for-your-vision-yet basement rapper in "The Biggest Little City" (the underground of the underground) comes the rarified and clarified aural juggernaut known as FRKSE. Using a combination of tape loops, power electronics, sampled sounds, synths and some other stress inducing mysteries, FRKSE has found a unique place in the universe. A turbulent plane nestled somewhere between chattering industrial clamor and automatous world meditation. "Desecration Anxiety II" further projects visions of a tormented nirvana beyond the light of consciousness, an uncertain stillness. 300 copies of 150gr black vinyl housed in a 24pt reverse board jacket with insert and download card (though there are vinyl only tracks that are not included in the download). Artwork based on "Desecration Anxiety I" created by DAS/Auris Apothecary. Photography by Reid Haithcock. Mastered by April Golden.
- 01. Lunarscape
02. Ethereal Jazz
03. Venus Rising
Epitaph for Venus[engl] Another shrouded in mystery album from the Pyramid label, produced by Toby Robinson in Cologne circa 1974. Kosmische and Head sounds with plenty of Minimoog, analogue synths / keyboards, effects, loops, tape manipulation, treated percussions, etc., courtesy of Galactic Explorers, an electronic, minimal, ambient krautrock trio featuring Reinhard Karwatky (Dzyan). Take a trip to the inner regions of your mind, see ancient solar systems forming and listen to cosmic winds and vibrations while sine waves of pure bliss will give you total peace of mind...
- EAN 4040824087210
- 01. Mothers Love
02. Ballad Of The Spirits
03. Song Of The Sea
06. Jordan River Song
07. Garden Of Gethesemanie
08. Song Of Abayi
09. Story Of The Wind
10. Evening Breeze
11. Tenkou! Why Feel Sorry?
GEBRU, TSEGE MARIAM
s/t[engl] One of our favorite Mississippi releases yet -- the transcendent piano of the classically trained Ethiopian nun Emahoy Mariam-Tsegue Guebrou (Gebru). This is the second LP in our ongoing series of releases of Emahoy Guebrou's back catalog -- all tracks that are nearly impossible to find on vinyl. More 1960s recordings of her unique solo piano performances -- somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, Ethiopian traditional music, and a touch of the divine. A spiritual salve for troubled times. Old-school tip on jacket with gold foil.
- 01. The Homeless Wanderer
02. The Last Tears Of The Deceased
03. A Young Girls Complaint
04. The Mad Man's Laughter
GEBRU, TSEGE MARIAM
Spielt Eigene Kompositionen[engl] A most unusual & stunning album. Tsege Mariam Gebru is an Ethiopian nun who has dedicated her life to helping others. She has been composing & playing music on the piano since the 1960’s. Her music is a unique mix of Western classical music in the vein of Erik Satie, Ethiopian music & Religious Christian meditation music. On this reissue of her first LP, originally released in Germany in a very small pressing, we find Tsege Mariam Gebru playing her own compositions solo on piano. She plays with restrained grace & purity. The record invites repeated listening well and is filled with spiritual warmth. We are very proud to present this LP – the first in a series of records we will be releasing with music culled from the monumental Ethiopiques CD series. We firmly believe that she is among the very greatest piano players and composers of all time.
HAND OF FOOD
Swimming Mindlessly[engl] Following up their initial cassette release ‘Tropical Income Tax’, Providence/NYC based holiday hypnotherapists Hand Of Food have returned and invite you to luxuriate in a perverted idea of paradise with their debut LP, ‘Swimming Mindlessly’. Despite coming from noise rock and damaged electronic backgrounds, the band sits in an odd nether region somewhere between a brutalized ambience or conceptual exotica, while at times dipping a toe into the self-help section. The record plays like the warped audio brochure for a struggling resort town, luring you in with motivational rhetoric and a transparent facade of tranquility. Although your instincts tell you something is off and the regional jokes are all lost on you, an all-inclusive vacation deal this good hasn’t landed in your inbox in a while so you go ahead and book the trip anyways. The opening track Sign Of The Lemon would have you believe everything is fine — lush pads, chimes, and 100% real flutes commingle harmoniously — you made the right choice. As your stay progresses similar instrumentation takes a more anxious turn. A professional voice-over artist or possibly the cruise captain interjects to insist that everything is ok, but hazy ambient atmospheres lead to reflection on the flight over, to all the decisions that led you here, and ultimately, regret. Doing your best to keep those spirits high, Chelo’s By The Sea whisks you away to the on-site cocktail lounge for some of the resort's complimentary entertainment, an evening with ‘legendary’ resident crooner Publicity Dave. But by the time the album's title track new-age dirge rolls around it’s clear things have taken a turn for the worse. A catastrophe of some sort has occurred and a strained voice pleads for mercy through a cacophony of eyewitness accounts. Against all odds relaxation is finally achieved when renowned audio book narrator Rebecca Mitchell’s soothing meditation picks you up, dusts you off, and guides you to a seemingly permanent place of peace. Swimming Mindlessly dislocates the typical island narrative cliches to articulately illustrate tropical disarray and tell the story of a retreat gone awry. A transportive listening experience taking you directly to the heart of beach-bum dystopia. Judging by this record the Google reviews comment section for the Hand Of Food travel agency would be a treasure chest of pure gold.
- 01. Krst I
02. Krst II
03. Krst III
04. Krst IV
Krst"Krst" ist ein 75-minütiges Werk, das Drones, minimale Beats und byzantinisch beeinflusste Gesänge als elektronische Oper Noir vor einer bedrohlichen Lärmkulisse inszeniert.
- LP Box
- EAN 9120047540084
- 01. Lustmord
Krst RemixesDer jugoslawische Elektroniker Slobodan Kajkut aka Kajkyt hat 2010 das Stück »KRST« veröffentlicht, eine unheilige Melange aus Klangexperimenten und ritualisierten Gesängen. Diese Remixe sind eine logische Konsequenz daraus.
- LP Box
- EAN 9120047540121
Bring Your Own Pencap[engl] None or all of the following is true about Maximum Ernst: Maximum Ernst is an art band. Maximum Ernst is a rock group. Maximum Ernst is a jazz combo. Maximum Ernst is fusion. Maximum Ernst is a duo. Maximum Ernst has performed naked. Maximum Ernst is magick. Maximum Ernst is a joke. Bring Your Own Pencap is the eventual beginning, the final phase, the plastic molding wrapped in paper towel.
Hallmark Of A Crisis Period[engl] Five years into their long strange drip, the duo of Maximum Ernst continues to confound, perplex, confuse and refract. Foetal returns yielded guitar/drum scramble in service of improvisational incongruity and radical reimaginings of alt-world smash hits by Faust, Snatch and Easy Cure. A link with Old Master horn maestro and official NYC gem Daniel Carter emerged and soon thereafter a CD and live cassette popped a few eardrums just right, so tight. Further uncharted territories were conquered and liberated as Maximum Ernst furiously and fitfully would-shedded. Woodn’t you? Quit playing. That was the advice of one medical doctor and also a licensed quantum mathematician; but still the daft, disappearing duo of Maximum Ernst gestured, rudely, NAY and thus, this newest release finds itself in your hands, begging for a vigorous clean. Please, indulge. “Un Menace Natural” welds together extra-dimensional birdsong, soothing bursts of noise, the timbre of waves on a nonexistent beach and uncanny, unnerving shrieks smeared into beguiling patterns. It builds, it ebbs, it flows, it knows. It knows everything. It’s like if Jon fucking Hassell and Black fucking Dice had a fucking Baby. “Hallmark Of A Crisis Period” is a cut-up tour de force that shivers with unhinged delirium and barely-concealed malice. Imagine William S. Burroughs interpreting a Whitehouse “banger” as being live-mixed by Nurse With Wound. Imagine it, you fool! Despair not, heathen, as Maximum Ernst has imagined it for you. And it is as glorious as a sunset must be to a hanged man. Rejoice, for you have entered the Crisis Period, and nothing will ever be the same.
Live at Legion Hall[engl] Following a successful collaboration released on CD and cassette by New York City’s Ever/Never Records, legendary reeds-master Daniel Carter and the duo known as Maximum Ernst converge once again. Retaining a sense of continuity within the narrative jolt, Carter is unflappable and steadfast amidst the storm-drone conjured by Maximum Ernst. On each untitled cut, Daniel Carter switches horns effortlessly as Ernst churns, hums and slums via guitar, tapes and drums.
Perfect Mixer / Matchless Pair[engl] The worm never stops turning at MaxE HQ, so as we make another trip thru the solar system on Spacefish Mirth, Ever/Never presents Perfect Mixer/Matchless Pair. Before you ask—Yes, it’s good. Yes, you will enjoy this ravishing ear-tickle of a release. Past meets future. Beats in space. Time falls fast and twists into a funnel cloud of distortion. Perfect Mixer/Matchless Pair is a funhouse reflection in an abandoned amusement park. Perfect Mixer/Matchless Pair is a suicide ride into the vanity mirror universe.
s/t[engl] On one side, we have upstart NYC free-rock duo Maximum Ernst and on the other, masterful journeyman horn specialist Daniel Carter. Daniel has been blowing through his array of horns for over fifty years now. The list of people and ensembles that he has played in over the decades is staggering. Carter was part of the legendary lower Manhattan free jazz scene as epitomized by the classic Wildflowers compilations. An essential component of a group of musicians that includes such luminaries such as David S. Ware and William Parker, Carter has maintained his connection to the foundation of revolutionary “fire music.” But this is only a fraction of what Carter does day in and day out. Daniel Carter plays; anywhere and everywhere, any time and all the time. As part of ‘90s free jazz fire-breathers Test, Carter and compatriots made a name for themselves playing in subway stations around the city. And Carter can still be found playing in stations to this day. His is true underground music. But Carter never limited himself to just “jazz,” even of the outre’ variety. In the 1980s, Carter could be found on stage with bands such as hardcore demi-gods Bad Brains and primal industrial insurrectionists Missing Foundation. In the present, you can find Carter throughout the city, playing with young masters such as Chris Corsano and old sages such as Loren Mazzacane Connors. Which brings us to this wild n’ woolly CD/cassette release on New York City’s Ever/Never Records. Joining forces with the guitar and drum-based Maximum Ernst, Carter gets to let his freak-flag fly high. Here we have five distinct pieces chronicling their collaboration. “Iceflower Shawl and Gulf Stream” opens things up with a deceptively jazz-like intro before eventually melting down like a three mile island. “Whip Lashes or Lava Threads” begins in the eye of the hurricane but pretty soon, the gale winds are whipping your face and the trio have stumbled upon a sound beyond rock and jazz. “Scarcecrows” is a brief respite featuring sharply plucked guitar, lyrical sax work by Carter and a spectral radio signal from another dimension. “Fields Of Honor Flood Seismic Plants” is both the longest title and the longest track on the album. It begins with each musician patiently probing the boundaries until building to its natural conclusion. “The Habits of Leaves”ends the proceedings with a perfect mix of improv clatter and old-fashioned rock power. Maximum Ernst with Daniel Carter is a testament to the rush of creative friction between colliding talents. Open your ears wide. -e/n