Face A/B. Beatrice Dillon. Where To Now?

Posted in Vinyl on August 25th, 2015
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Where To Now? records are proud to present Beatrice Dillon’s follow up release to the widely well received ‘Blues Dances’. This three track 12” sees Beatrice step things up a gear in terms of intricacy, experimenting wildly to add to her already astute palette of timbre and rhythm.

‘Face A’ leads the record with the unmistakable skronk of saxophone cutting and jamming over the skeletal pulse of Beatrice’s signature dubbed out techno landscape. Initially the inclusion of saxophone acts as an aural abstraction or diversion to extract a little freedom from the pumping cavern of dark dub techno atmosphere punctuated with the mechanical juddering saw-bass, but as the piece develops and we become deep into the groove the inclusion of wild sax snorts trips us up and become the focus itself as new levels of complex melodic and rhythmic detail become apparent within this otherwise structurally obedient space. Taking it’s cues from Rabih Beaini, Miles Davis ‘Big Fun’ era, Dresvn and Keith Hudson, undoubtably ‘Face A’ is a compelling, complex trip… heads down but arms flailing.

‘Face B’ continues the theme but takes the listener far deeper into the cavern. Here the concern is more the effects of space within song, a moment where Beatrice allows herself to move away from the floor to find a little more room for playful experimentation. The saxophone is further treated with a plethora of effects to compliment the array of dub signals that scatter and skip around the basin.

The record closes with ‘Sonnier (Walk in the light)’ which strangely somehow manages to feel jazzier in its components, even in comparison to a pair of tracks riffing on a manipulated free-jazz sax part. It sounds strangely unsure of its world, adding to this whole loosely slung, loping feel which somehow fits amongst the stern, brooding, and efficient synth play. Beatrice masterfully manages to create a piece here that grows in intensity without ever increasing in pace or texture, every drop is intended to stir the listener a little more than the last. There’s a sense throughout all the pieces of having rhythm imposed or even inflicted upon the listener but this is certainly not a conflict of ideas… there is optimism, harmony and above all – wild groove nestled within Beatrice’s world of mutant shuffle.
credits
releases 21 August 2015

Written and produced by Beatrice Dillon, tenor saxophone on ‘Face A/B’ by Verity Susman.
Mastered by Rupert Clervaux at Grays Inn Road.
Sleeve drawing Sam Porritt, ‘We’re tripping myself up’, 2012, ink on paper, courtesy of the artist.

€13.65

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Neukalm. Christian Vialard. Grautag Records.

Posted in music, Uncategorized on February 21st, 2014
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Neukalm. Christian Vialard. Grautag Records.

Mixed and produced by Frederic Bigot at the Padded Cell in Berlin.
February 2013
Mastered by Norsq
Front, back and inside sleeve: Nicolas Moulin

20€
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Blame. Sister Iodine. Premier Sang.

Posted in music on February 11th, 2014
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Blame. Sister Iodine. Premier Sang.

French pioneer experimental rock band formed in the early 90′s by Lionel Fernandez, Erik Minkkinen and Nicolas Mazet, Sister Iodine is a rare band who with “Blame” is releasing only now their 5th studio album.

Edition of 400 copies.

Price: €16.00

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Disappears. A New House in a New Town. Sleeperhold Publications.

Posted in music on March 30th, 2013
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Disappears. A New House in a New Town. Sleeperhold Publications.

Sleeperhold #5.3.

“Disappears” with their release called “A New house in a New Town”. Chicago’s Disappears are Brian Case (also of the Ponys and 90 Day Men), Jonathan van Herik, Damon Carruesco and Noah Leger. Their latest album “Pre-Language”, released on Kranky records, features Sonic Youth’s Steve Shelley on the drums. Disappears’ druggy, rythmic rock music has often been compared to Neu!, Spacemen 3 or Jesus and Mary Chain at their noisiest.

This output features the demo versions of 2 new songs and a rework of “Love Drug”, from their acclaimed last album “Pre-Language”, recorded in a single track at their rehearsal space The material could not be more unpolished and this rawness only adds to the magic of the songs. The blown-open sound and potential of these versions is enormous. Brian’s barked, deadpan vocals remind of The Fall’s Mark
E. Smith, while the music shivers on. The drumming on this release is taken care of by a drumcomputer, adding a dry rhythm to underline the repetitive nature of the 3 songs. Disappears’ haunting basslines, monotone singing and shivering guitar sound are just enough to convey the mood of 21th century suburbia, with its nihilism and loneliness, the perfect soundtrack for hazy nights. In a unique blend of krautrock, minimalism and garage the group evocates desolation, despair and catharsis. This record seems to build up to an explosion that never seems to arrive. Their smoggy, narcotic sound makes everything come to a stop and builds up in a dynamic thrust, only to stop again. This is truly a thrilling release. Disappears’ interplay between tention and release is seamless and compelling.

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The etched artwork on the b-side of this vinyl was done by Belgian photographer Stine Sampers. The diptych she created, captures the mood of the music so perfectly one could see it as the 4th song of the album.

Sampers’ pictures seem to dissect the beauty of the empty, simple moments within the human lifespan. Her pictures capture the hidden self of her subject. It seems as if the spectator is allowed to gaze into a world that’s completely indifferent to his/her presence. Her work is highly personal, helping her cope with love, loss and regret.

But Sampers doesn’t just register. By taking a picture Sampers builds a visual narrative around the subject, similar to a diary entry. They often speak of despair or disillusion, as often as they evoke happiness. There is no in-between in Sampers’ work.

Listen to a sample here.

D 17€

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Sleep. Grouper. Fillip Editions

Posted in art, events, music, performance on December 8th, 2012
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Sleep. Grouper. Fillip Editions

**Edition of 800 white 180g vinyls housed in a PVC-lined innersleeve with glossy cover** Breathtaking stuff from Liz Harris presented by Canadian publication, Fillip with suitably refined production values. This edition of ‘Sleep’ is a fragment of a longer composition (we could imagine it exponentially longer) first performed at the Berkeley Art Museum in 2011. More recently the label organised its performance in an abandoned polar bear enclosure at Vancouver’s decommissioned Zoo and now it finally reaches yours and our ears like some cathartic cloud of harmonised tape symphonics that just floated across the Atlantic. It’s difficult to say exactly what the source material is – it could be vocals, it could be synths – but that’s beside the point, and whatever it is, it’s one of the most beautiful things we’ve heard all year.

Size: 31 x 33 cm
Weight: 320 g
ISBN: 978-1-927354-06-3
D 20€

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It was big enough to get me completely inside. Rosie Heinrich. Dutch Art Institute/ArtEZ.

Posted in music on October 27th, 2012
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It was big enough to get me completely inside. Rosie Heinrich. Dutch Art Institute/ArtEZ.

It was big enough to get me completely inside

Recorded voices recount the nature and dangers of human desire, crisis and transcendence with abandon.

The publication is a sound piece. It is a construction of interwoven interview fragments that form both coherent narrative and dissonance. The narrative oscillates between the seemingly fictive and real testimonies of three people transcending their perceived reality.

The work considers the construction of one’s own being, reality and narration.

10″ vinyl, 30 minutes, 16 pages, black and green print.
Design: Hans Gremmen
Prints: Bryan Nash Gill
English
Edition: 250

D 20€

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