Jefre Cantu Ledesma - Voice Sutra (Root Strata, 2005)

1 Voice Sutra 28:36

A dreamy and tranquil, but still think and fuzzy, slowly shifting soundscape that spends the first fifteen minutes writhing and squirming like a downed electrical wire, buzzing with electronic fuzz and spitting sonic sparks, emitting a thick wash of sonic skree not unlike Total, eventually calming down into a more tranquil ambience, shimmering and simmering and slowly fading to black. Quite nice. Droneheads obviously need this.
Aquarius Records

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Wooden Wand & The Vanishing Voice - Town On The Edge Of Darkness (Audiobot, 2006)

1 Red Night Red Night Red Night Red Night 4:45
2 Satya Sai Baba Conquers The River Rangers / Babylon The Great 11:34
3 Floating Pharmicist Encounters The Witches Of The Wood And Stunned, Heels Backward Into The Sea 3:49

sold out

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Mathieu Ruhlmann - Every Vein Leads To My Heart (Somne Recordings, 2004)

Part I 15:18
Part II 11:17
Part III 13:16

every vein leads to my heart is a dark, often cinematic journey through three years of mathieu ruhlmann's life. delicately bowed cymbal and metal objects layered over pieces of field recordings, gentle scrapings, distant birds singing and the occasional piano note...
petite sono] (for their 2006 reissue)

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Stephan Mathieu - Kapotte Muziek By Stephan Mathieu (Korm Plastics, 2003)

1 A Microsound Fairytale 20:58

Le label néerlandais Korn Plastics édite, sous l’impulsion de Frans De Waard (Staalplaat également), dans les cadre de ses Kapotte Muziek By (série), l’enregistrement d’un concert de l’allemand Stephan Mathieu qui a eu lieu le 10 août 1996 à Berlin, mais retravaillé par ce musicien l’an passé. Usant du bug informatique comme d’une source créatrice et hasardeuse, Mathieu aurait réouvert des fichiers audio dans une autre système d’exploitation et aurait découvert lors de cette manipulation l’enregistrement dans le résultat publié aujourd’hui à savoir : 20 minutes de harsh noise, où les sons sont inlassablement lacérés, déchiquetés, désintégrés. Permet de relativiser la son d’un vinyle laissé sur une plage arrière en plein soleil. Vive les laptops.
Autres Directions

An unintentional destruction occurring to a wilful obliteration of destroyed music. That's the gist of the tenth in the ongoing commissioned series of reworkings of Kapotte Muziek, one of the many projects fronted by Frans De Waard. Stefan Mathieu is no stranger to the art of abstracting somebody else's music, as his Full Swing recording Edits aerolised Yo La Tengo, Kit Clayton, Akira Rabelais and others into dreamy vaporous clouds of digitisation. However, no such bitmapped ambience is found within his processing of Kapotte Muziek, as Mathieu's computer crashed very hard as he neared completion of this piece. After wrestling with his technology for a short time, the computer spat out this medley of his Kapotte Muziek material. The lines between the destructo-loops of faulty musique concrete and Kapotte Muziek's original erratic turntable skitter, Mathieu's shattered thoughts and the computer authored collage, are thoroughly smeared to produce a noxious and thankfully short assault of jittery noise and barking squeals.
Jim Haines, The Wire

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Alial Straa - The Lumbering Intransitive Dream Of The Alial Straa (Alluvial Recordings, 1997 (2001 reissue))

1 Amness 9:42
2 Solace 24:40
3 Lastic Sted 13:47
4 Tenge/Orr 9:11

This release begins a series of releases for Alluvial in which we will be reissuing old cassette materials and other rarities. The packaging is simple, but attractive and available at a lower price. Each will be available for one year from its date of issue, which is indicated in each release. This particular project stems from the Orogenetic Collective of artists involved in many facets of sound, the physical arts, theory and installation. For this release, AS is Seth Nehil and John Grzinich. It is a more electronic work, rather than incorporating the usual field recording methods and manipulation of physical materials usually associated with them. At 57 minutes, it is a set of compositions which are primarily made up of long, shifting drones, very satisfying. Roughly 200 of these where printed.
Alluvial Recordings

The text/story/myth about what the Alial Straa is found on the card inside the jacket is great, I love it when releases have pointed, relevant literature that succeeds in directing my imagination as I listen to the work. Like some surreal Tolkien/Native American myth….Alial Straa is a collaborative venture of Seth Nehil and John Grzinich. You might remember Grzinich from a colab with Mnortham, Stomach of The sky to be exact. I love this stuff; organic, spooky, sheltered natural-ambient. Struck stones, wind, rustling leaves and groaning gritty ambient swells and waves. A recording that reads like a deep, dark river, currents changing, scenery changing, sounds steady and physical but subtly different in each channel and inlet. Put this right next to IAM Umbrella, Augur, maybe a Rapoon with no beats? Great stuff. In a basic brown sleeve with card inside.
Manifold Records

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Phéromone - Disparlure (Corpus Hermeticum, 2000)

1 Disparlure Part 1 32:10
2 Disparlure Part 2 40:44

Eric Cordier et Jean-Luc Guionnet nous ont donné à entendre quelques unes des propositions expérimentales les plus intéressantes de ces dernières années, avec " Tore " paru sur Shambala et Synapses sur le label Selektion. Aujourd’hui Corpus Hermeticum sort le disque de PHEROMONE, trio avec Eric Cordier (vielle à roue et traitement électronique) et Jean-Luc Guionnet (citera, chiftelia, bois, métal et micros contact), auxquels s’est joint Pascal Battus (guitare environnée). Trio d’improvisation définitivement sorti de l’approche old school, sans pour autant sacrifier à la tendance minimaliste actuelle. Comme la plupart des disques parus sur Corpus H. celui-ci est traversé par l’énergie du rock. Pour PHEROMONE le petit Robert donne cette définition en biologie : sécrétion externe produite par un organisme, qui stimule une réponse physiologique ou comportementale chez un autre membre de la même espèce. L’ improvisation jouée comme réponse à une stimulation sonore de l’autre. Ce qui semble dire qu’il n’y a pas de réponses imaginaires mais seulement antérieures (de l’ordre du réflexe, codifiée). Ce qui pourrait être une remise en cause (ou tout au moins un doute émis à propos) du caractère déclaré libertaire de l’improvisation ou des musiques improvisées, une façon de dire qu’elles comportent un caractère idiomatique, un déterminisme culturel ? Mais il resterait du désir, du collectif, de la circulation, de l ’échange, de l’un à l’autre, l’improvisation comme érotique. Longue pièce enregistrée par Eric La Casa et Pierre-Henri Thiebaut Disparlure ", développe des paysages sonores bruissants, sons éclatés dans l’espace se répondant à la façon de ces phéromones, atteignant une apparente cacophonie de nuit d’été. Les textures sont denses et travaillées de torsions et de déchirures, de brûlures et d’implosions, la matière ne reste jamais inerte, le travail incessant. Disque de grincements, de matières ferrugineuses, lourdes, très denses. On y entend quelque chose de l’ordre de l’animalité, un peu à la façon d’une nourriture que se disputeraient des coléoptères voraces, déchiquetant, amputant, déchirant cette masse sonique. L’intérêt pour les sources sonores (de la guitare environnée ou de la vielle à roue) disparaît, semble secondaire, une belle confusion règne là, riche et non maigre, mais pourtant coupante, dangereuse. Les mains tremblent, cherchent, fouillent dans la matière à la recherche de ce son d’or qui fascine tant Charlemagne Palestine, mais ici comme pris dans le déchet, le rebus de la chose musicale. Quête alchimique de la merdre en or. Disparlure ", un bégaiement à la Christian Prigent, il y a de l’anamorphose dans la musique du trio, une torsion du musical dans le bruit monstrueux, comme une mise en vibration du réel. Prigent parlant de l’anamorphose en dit : " Son intérêt réside dans ce geste symptomatique, qui désavoue implicitement la réalité que serait censée figurer la représentation codée " . Est-ce de la musique (cette grande écriture codée des sons d’une société à un certain stade de son développement) ou plus simplement un moment de vie, du temps parlé ? Après le trio Noetinger / Marchetti / Werchowski, Bruce Russell continue d’ ouvrir son label aux expériences de l’improvisation de la vieille Europe, sortant la musique de l’impérialisme culturel anglo-saxon. Il y aurait un autre monde ?
Michel Henritzi

This is the first release from the French Trio Pheromone, released on Bruce Russell's Corpus Hermeticum label. This trio makes spare and expansive soundscapes using guitar, hurdy gurdy, electronics, contact mics and various electro-acoustic devices. This single piece (tracked as 2 tracks) was recorded live and mixed by Eric La Casa and Pierre-Henri Thiebaut at home. The band sets up in the corners of the room and surrounds the audience, while enveloping them in an abstract cloud of stuttering samples, rhythmic pulses, clicks and scrapes, hums and whirs, buzz and skree, strum and clatter that all seemingly follow some mysterious and non linear-narrative. Gorgeously difficult.
Aquarius Records

The analogy is with the functioning of the eponymous insect hormones, which transmit messages to other insects at a distance. The audible messages of the three musicians transmit signals from one player to the next, with the audience hearing the interaction of the signals in 'surround sound'. This is particularly apt as the overall effect of the music is of a darkened environment full of animal calls, as unseen predators stalk small mechanical prey and flocks of metal birds perch in the tinfoil trees.
Discogs

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Dan Warburton, Jean-Luc Guionnet & Eric La Casa - Métro Pré Saint Gervais (Chloë, 2002)

1 Untitled 20:47
2 Untitled 43:23

Late in the evening of July 10th 2001,Dan Warburton took Jean-Luc Guionnet and Eric La Casa down into the depths of Pré Saint Gervais, a Metro station in the quiet north-east of Paris. Following no pre-determined plan, the three musicians - Warburton on violin, Guionnet on alto sax, La Casa on portable DAT recorder with stereo boom mic - explored the acoustics of the station, riding the elevators, taking the stairs, producing a rich and fascinating sonic map of the space through environmental improvisation. "Metro Pré St Gervais" is a unique and remarkably accessible aural document of free improvisation and sound art.
Chloë

This trio follows an approach similar to Afflux (of which Jean-Luc Guionnet and Éric La Casa represent two-thirds): make a piece of a location. While Afflux uses electro-acoustic devices to interact with a specific location, here Guionnet and Dan Warburton play their respective alto sax and violin. Éric La Casa is recording while staying mobile (unless the musicians are the ones moving around; it is hard to tell). Listeners are in a Paris subway station at a slow time of the day (or night?). Subway trains coming and going and the conversations of passersby provide colors to the piece. Violin and saxophone are mostly used to produce fragile drones, especially in the first of these two untitled pieces. For the first three-quarters of the album, the musicians let the subway tell its story, stepping in whenever things get dull. At times it sounds like a game of cat and mouse, the improvisers hiding the second a person walks by. Their more noise-based sounds (sax gurgles, string scratching) become the sounds of creatures crawling from under the bed when no one is watching. At one point in the last 15 minutes, Warburton and Guionnet engage in a more vehement exchange, spicing things up before simmering down to long, quiet notes again and giving the subway a chance to reintegrate this unusual quartet. Recommended to deep listeners.
All Music Guide

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Jonathan Coleclough & Tim Hill - Beech For John And Miho (Seal Pool, 2003)

1 Beech For John And Miho 74:32

"Beech for John and Miho," another collaboration for Coleclough with saxophonist Tim Hill, does nothing to change our high opinion of this composer, and we highly recommend everybody who has been interested in Coleclough to pick this one up!
Coleclough was originally commissioned to construct a short piece for a private wedding CD compilation alongside Joe Weismann, If Thousands, Jliat, and Space Machine. From what I can gather, there were a few copies of that compilation circulating around eBay at extremely high prices; thus, the release of "Beech" at this normal price should be a welcome relief for die-hard collectors. Furthermore, Coleclough has unravelled the original 15 minutes of sound into an epic 74 minutes, a time frame much better suited to the material at hand. Despite the lack of information about this composition, the sounds that Coleclough and Hill have been able to muster resemble those found on their previous collaborative album with Nurse With Wound's engineer Colin Potter entitled "Low Ground," opening up the possibility that the sources for "Beech" are saxophone and cello. Regardless of origin, Coleclough has stretched out the source material's intrinsic tonalities into a Phill Niblock-meets-Organum piece of maximalism. Coleclough presents a steady flux of sustained drones that may have been doubled, tripled, and quadrupled from a bow rippling across the strings of a cello. It's a beautiful hum that waxes and wanes on top of a constant background field of rapidly streaming glistens, shimmers, and miniature ruptures. This undercurrent of sound clangs like a distant school bell that rattles indefinitely, but situates itself as a transcendent, environmental complement rather than a toxic abrasion. "Beech" ultimately is an exceptional piece of dronemusic that is as good as Coleclough's universally acclaimed collaboration "Sumac" with Andrew Chalk.
Aquarius Records

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English Heretic - Visitor Guides : Your Passport To The Qliphoth (English Heretic, 2007)

1 A Threnody For The Energy Spectres Of Nagasaki 24:42
2 London's Qliphoth - The Ritual At Centre Point 3:24
3 In Parfaxitas 13:52
4 Open The Mithraic Stargate 16:54
5 The Brundish Horror 2:26

In 1919, Aleister Crowley achieves rapport with an entity of extra-terrestrial intelligence, LAM, via an opium laced vision, The Amalantrah Working. Close to death, he passes on a portrait of LAM to his acolyte Kenneth Grant. London 1949, Gerald Gardner and Grant attempt to bring down the power from alien sources on the site later occupied by Centre Point. In 1980, Rendlesham, Suffolk, becomes a Centre Of Pestilence prophesised by mediums in Grant's occult lodge of the late 1950s. Is the epidemic of alien visitations following the dropping of the Atomic bomb in August 1945 due to a cataclysmic upheaval in our cosmic consciousness... are these entities really energy spectres, dakinis and distant cousins of Lovecraft's Outer Ones? In a mind expanding voyage through England's Qliphoth, we are proud to present a series of Visitor's Guides: audio recordings and essays, the radioactive samples of researches at the cold war citadel of Orford Ness, the site of the suspected UFO crash landing at Rendlesham, the ruins of Dunwich, a witch lair at Brundish, the carnal tunnels of Soho.
English Heretic

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We are Bright & Broken - We are Bright & Broken (Pandafuzz, 2009)

Reçu un mail de Nathan pour présenter la dernière réalisation de son netlablel Pandafuzz / Received a mail from Nathan to introduce the last release of his netlabel, Pandafuzz

Two studies for electric guitar, sine generator and ring modulator.
Personal revelation through deconstruction.
Footsteps on marble.
Fever reverie.
Coming to in the snow.

Note: These tracks contain frequencies far below the capabilities of earbuds and computer speakers. Please listen accordingly.

We are Bright & Broken is Joe Houpert of loud & sad.

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and don't forget to visit the rest of this site, a lot of enjoyable stuff: Pandafuzz

Francisco López - Buildings (New York) (v2_Archief, 2001)

1 Buildings (New York) 1:09:04

When people ask me about my taste in music, I tell them, somewhat facetiously, that I've gone beyond banal things like rhythm and melody and lyrics moved on to pure noise: recordings of elevators, washing machines, refrigerators, and blenders. Granted, I only tell them this to shut them up and leave me the hell alone. But there is some truth in it. While I do enjoy the occasional beat and melody, when I go to my computer, shuffle through iTunes looking for something to listen to, I find myself more often than not gravitating towards works like Francisco López's Buildings [New York], a work composed entirely of sound fragments López procured while wandering around big buildings in NYC. This is environmental music in its most elemental form: music that has not been processed or altered or edited, just recorded. What's amazing about the disk is the variety of sounds López managed to stuff onto the work's single, one-hour long track. It's remarkable how similar many of the sounds found here are to sounds on other disks by artists who use computers to create, edit, process, reprocess, and otherwise manipulate sound. There's no obvious rhythm, and there's no obvious melody, but there's obviously music floating around in those buildings in New York.
Of course, there's a difference between going to a building in New York (or any city) and listening to the sounds of elevators, air conditioning systems, cables, pipes, air ducts, boilers, clocks, thermostats, video cameras, and so on, and listening to a recording of these sounds that has been carefully compiled by an artist of López's caliber. First, López listened to these sounds before I did; he studied a variety of sounds and chose these specific sounds to include on this disk. I don't know how long he spent doing this, but I'm sure it was longer than an hour.
So there were probably lots of boring sounds in those buildings, and he only picked the interesting ones for this disk. Second, if I were in the building listening to these soundsóeven the good onesóthe sounds would (for the most part) have a clear referent. I would know what object created what sound, or, at the very least, I would know where the sounds came from and could then guess their origin. Because, on a disk, there is some separation between myself and the events recorded, and because I do not know what makes what sound, I can imagine that a droning, hissing sound is the sound of electronic hamburgers grilling on a hot stove, or that the intense humming sound that just builds and builds and builds until it cuts off in mid hum is the sound of a fat man plugged into an electric chair, bursting at the seams until he bursts, all his organs splattering everywhere. I can imagine anything I want on a disk like this; that's much harder to do when I'm face to face with the crashing elevator doors or the humming air duct.
Now, the great problem most people have with music like this is that it is so obviously experimental, so obviously designed not for listeners but to prove a point or explore a concept that belies the actual listening experience. In other words, music like this was made by and for elitist snobs who think that they are better than everyone else because they're willing to sit and listen to this shit. To an extent, I am sympathetic to that particular point of view. As I work in the academic world, I have encountered my share of snobby assholes and have detested every single one of them. The thing is, Francisco López is not one of those assholes, and his music is anything but a challenge or a dare. It is, quite simply, a fun disk because there's so much here to listen to and enjoy.
Sure, it's music culled from everyday life, but that's what makes it so interesting. Who knew modern, lifeless buildings could sound like this? López's work puts an acoustic mirror up to our own lives, and challenges us to listen to the noise of our world in a different way. And that's interesting, no matter what your taste in music might be.
Stylus Magazine

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Tim Coster - Mornings (PseudoArcana, 2006)

1 Mornings
2 Costume
3 Bowling
4 Finished

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Laurie Spiegel - Unseen Worlds (Scarlet Records Inc., 1991)

1 Three Sonic Spaces I 1:36
2 Three Sonic Spaces II 3:22
3 Three Sonic Spaces III 5:53
4 Finding Voice 2:45
5 The Hollows 4:51
6 Two Archetypes I 4:24
7 Two Archetypes II 3:35
8 Sound Zones 8:07
9 Riding The Storm 4:29
10 Strand Os Life (Viroid) 1:21
11 From A Harmonic Algorithm 2:55

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Brendan Murray - Ocean Of Dirt, Mountain Of Steam (Gameboy Records, 2006)

1 Ocean Of Dirt, Mountain Of Steam 40:00

Brendan Murray isn't perhaps as well known as we'd hoped for. But his small discography is hailed here at Vital Weekly with some praise, but perhaps and unfortunately only well-known to the insiders. I think that 'Ocean Of Dirt, Mountain Of Steam' is the follow-up to 'Resting Places' (see Vital Weekly 480), but perhaps we missed out on a release. In any case, also in terms of music this is a follow-up, but in stead of five pieces, Murray offers here one forty-one minute piece of drone music. Still we are left in the dark as to the origins of the soundscources Murray uses, but he crafts a very beautiful piece of drone music of it. Sounds move on all sides of the spectrum, at the low end as well as the high end, in various layers organized. Half way through the piece more or less 'explodes' and moves to higher tension level, like being in the middle of factory. That also disappears as suddenly and things move towards the end at even more gentle level. Not the most 'new' direction in drone music, but it's certainly well made and should appeal to all fans of the genre, who dare to hear something just a little bit louder.
Vital Weekly

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Sachiko M - Sine Wave Solo (Amoebic, 1999)

1 Don't Move 6:47
2 Don't Ask 3:01
3 Don't Touch 9:43
4 Don't Get 0:24
5 Don't Take 6:56
6 Don't Push 0:39
7 Don't Stop 8:59
8 Don't Do 2:46

Non memory sampling, no overdubs, no edits, direct DAT recording at A-102-R, Tokyo, 27 Sep, 1998.
liner notes

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Joel Stern - Unplugged / Jodphur (TwoThousandAnd, 2002)

1 Untitled 3:20
2 Untitled 0:53
3 Untitled 6:20
4 Untitled 3:01
5 Untitled 3:35
6 Untitled 2:55
7 Untitled 1:55
8 Untitled 3:11
9 Untitled 5:27

Listening to unplugged/jodphur is like exploring a derelict building. Inside one room you can hear water running. You find a light switch and press it-sparks burst from nowhere as the ignition of distant machinery begins to hum all around. The walls are peeling. Behind some broken tiles there's a tin box holding old coins and photographs.
Stern treats these artifacts to reveal a place of submerged activity, an ambiguous space filled with static objects bearing the faint trace of human gesture. Documentation and manipulation interact and overlap in an environment that's charged with an awareness seldom heard by our ears.
TwoThousandAnd

Australian artist Joel Stern's Unplugged/Jodphur (sic) is an enticing collage in nine parts that blurs the line between taped "natural" sounds and electronic processing. From the onset, it's richly cinematic, with a buffeting wind sharing space with muffled metallic clangs and static interruptions. The music ebbs and rises throughout the disc with great attention paid to sonic detail and the combination of pillowy and harsh sounds. One will sometimes hear, for example, amorphous throbs paired with splintering slivers of high-pitched tones forming a delightfully ambivalent and complex texture. Stern also periodically returns to more purely concrete territories which, for the listener, is something like waking from a dream; one suddenly is aware of ambient sounds like birds and faraway voices and the effect is startling. The listener is pulled back and forth between these poles, sometimes gently, other times with a certain amount of force, even harshness. All told, this makes for a bracing, never less than fascinating journey and stands Unplugged/Jodphur alongside the work of artists like Lionel Marchetti, which is strong company indeed. Recommended, especially for those interested in the ongoing history and evolution of musique concrete.
All Music Guide

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Maggi Payne - Ping / Pong : Beyond The Pail (and/OAR, 2003)

1 Ping 30:05
2 Pong 30:00

Two surprisingly percussive, musical, textural, and hypnotic field recordings originally made for Chris Cutler's Out Of The Blue Radio program on Resonance FM.

"Ping used hydrophones in a galvanized steel pail filling with rain water. For Pong (recorded the following day), I poured out the water, flipped the pail over and placed two open air mics inside, letting rain strike the bottom of the pail." (Maggi Payne)

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Philip Samartzis - Residue (Dorobo, 1998)

1 Bois Noir
2 Coeur de France

Quiet yet forceful, soft yet sudden, the collection of sound artist Philip Samartzis' early work is a complex palate of soundscaped experience. Residue is a vision of the known made unfamiliar and the obvious made sublime, as field recorded materials fade in and out between layers of electronic acoustica. Quiet recordings of small sounds and broken vocals give way suddenly to deep, full walls of noise, while at other times the haunting conversations play through thin, windy analog sweeps.

At times, rhythms are present, but these suddenly break down and the sonic narrative is reduced to a resonating formlessness. These are the kinds of experiences and moods documented in Residue. The dance between elements of Residue is subtle. Some sounds are only present while listening actively, and it is difficult to determine whether many of these sounds were birthed in the field or in the studio.

This interplay grounds Residue, giving it a sense of transient place and an organic feel where often electronic music has none. Also, while the machines are clearly not the motivating factor of Residue, they play a role so central that each composition is more than a mere selection of recorded sounds played to an ambient soundtrack. Residue does nothing if not well, and the execution matches in all ways the depth of its expression.
All Music Guide

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Olle Corneer - Harvest

Reçu un mail d'Olle Corneer pour présenter en vidéo sa dernière réalisation / Received a mail from Olle Corneer to prsent his last release with a video:

The vinyl is dead. Good. Now listen to the beautiful noise of the earth.

Harvest (2009) is a new art piece for the new instrument terrafon, traditional ensemble and cropland - by Olle Cornéer and Martin Lübcke.

In this performance Alunda Church Choir, conducted by Cantor Jan Hällgren, plays the soil of northern Uppland (in Sweden) on terrafon. Harvest by Alunda Kyrkokör was exhibited at the Volt Festival in Uppsala the 6th of June 2009. Terrafon is a large agricultural version of the horn gramophone, amplifying the sounds in the track it ploughs.

There is more to come. There are still many croplands still untouched by terrafon. The only thing needed is a powerful local musical ensemble that can sweat it out. This is indeed a demanding piece.

Watch the performance here: http://vimeo.com/5075042


Download some pics here:
http://ollecorneer.com/art/harvest/

The artist-duo has before created the sound installation Bacterial Orchestra (www.bacterialorchestra.com) as well as an iPhone-generation of the same art piece, called Public Epidemic No 1. Olle Cornéer is also a electronic musician/producer/composer, while Martin Lübcke has a Ph.D. in theoretical physics (superstring theory).

More questions or info?

Just e-mail me at olle@ollecorneer.com


du nouveau chez Ruralfaune / Ruralfaune new releases

synth003 SKY DRIPPING VENOM "In Krasnozem" cdr ltd75
Post-pyschedelic kraut_jams and moody experimentations by Nick Forté (Christmas Decorations, Felipe and Forté - Schematic & Kranky labels...) Kosmic rocks and musical meteors. Just great.

synth004 DREAM SAFARI / OPHIBRE "Split" cdr ltd60
Astral voyages in the deep minds by two explorators of the "new new age scene" . One in the dark, one in the light. Previous releases on ExBx, Digitalis / Earjerk, Housecraft...

synth005 STELLAR OM SOURCE "Heartlands Suite" cdr ltd100
Beautiful & fragile recordings by the stateless visionary icon Christelle Gualdi.
Neo-kösmic oceanic waves and deep synth meditations. Actually on tour with 2/3 Emeralds

synth006 DRIFTS "Future Light Cone " 3"cdr ltd60
Econo-synth action unit. Claustrophobic space jams and post-urban sounds. 2/3rds of Bladder Stalks / Scumbag Relations related


YUKO X CHINO "Sensory Deprivation Techniques" cdr ltd64
New album for the Sasqrotch member Danny No/Fi. Sticky guitarz, distorted vocals and heavy pounded beats

rur076 CYRUS GENGRAS / M. GEDDES GENGRAS "Family split" 2cdrs ltd72
A family split. Two brothers, two musical visions, different but so complementary to understand the subtlety of this family apart from the standards. Cyrus incarnates a folkier side while M. Geddes shows an analogic and more experimental side

rur077 RURALFAUNE COLLECTIVE "I" 3"cdr unltd
Recording of the first show in june 2008. Something between noise, robedoorlike incantations and schizophrenic drums. Featuring Monks of the Balhill, Sorch'enn, Xochipilli...

rur078 EXPO70 "Psychic Funeral" 2x3"cdr ltd75
Double 3"cdr set set de Justin Wright, new cantor of the US psychedelism, with this time an introspective voyage in the inner worlds of our Consciousness

rur079 EYES LIKE SAUCERS "Parmalee, tribute to a dog" CD co-released w/Ikuisuus ltd500
Artisan of the indefinable musics, Jeff Knoch (ex-Urdog) explores the gallery of the displaced instruments (harmonium, glockenspiel, Farfisa..) for a tribute with his companion of always, his dog Parmalee. An obsessional trip into space folk drones.

Please welcome the new Ruralfaune releases, some on the new sublabel Synth (dedicated to analog and vintage kraut sounds).

For any additional infos and to see the back catalogue or just to hear some samples, please check the sites
the index page is www.myspace.com/ruralfaune ; with links to the sublabels

If you run a distro, please contact me directly to determinate the wholesale price
and for Us customers, don't be afraid of the euro currency, we"ll work something out for friendly prices

contact and paypal address : ruralfaune@neuf.fr

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(VxPxC) - I See A Fire In The Distance (Ruralfaune, 2007)

1 Burning Oil Fields Light My Way 11:42
2 Black Holy Smoke Pillar 2:44
3 Incursion Principle 12:48
4 Night Of The Honey Locusts 6:58
5 Shaherrazad 10:45
6 Three Unwise Men 3:12

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(VxPxC) - Reticent To Manifest (Abandon Ship Records, 2007)

A1 Swooning
A2 Down To Nothing
B1 Icy Spectral Fingers
B2 Hard To Stand

Reticent to Manifest was made on a cold summer's night in Los Angeles... High on salsa verde and the thick brown air, three men went in and one long string of sound came out. (VxPxC) has been known for pulling some legs and some hair in the past, but this tape is the start of a very long apology of sorts... a way to say "Hey, we like music too... maybe just not the same stuff
as you, but you know..." Not a particularly heart-felt apology, mind you, but a start...
(VxPxC)

I understand (VxPxC), the LA-based troupe of sound murderers behind this unburnished, deep buried, gem of a cassette, have been at this since 2005. It sounds to my ears like they've used the time wisely and located a pretty unique vibrational source.

The first cut on this 40 something minute tape is one of its strongest. Wheezing accordions (or maybe organs?) and guitars are cloaked in a tape haze that sounds to me like the real sound of Los Angeles, the endless dust to which the Hotel California and the Hollywood sign will one day return.

The lanquid, yet bent and wobbly, quitar/vocal lament that opens side B (Icy Spectral Fingers) sounds like the death of a penny arcade. The moans of once cherished amusements breathing their last with a quivering sense of resignation can be heard as keyboards begin to surface in the mix. Or maybe it was just really late at night when the fellas recorded it. Or maybe I left my copy in the sun too long. Whatever it is, it totally works and runs real deep.

The next cut, which I think is called Hard to Stand, sweeps away some of the muck for a phased-out mindscratcher. It is a rather glorious confusion of totally unintelligible vocals and tenuous fidelity. Just the way I like it.

I've not heard the length and breadth of (VxPxC)?s discography so I can't comment on where this sits within their rapidly increasing back catalogue. I can say that what we have here is a great document of a band that seems to have stumbled on a pretty thrilling collision of sounds.
Foxy Digitalis

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(VxPxC) - Acceptance Of The Existence Of The Unobserved (Burial Mound Tapes, 2007)

A1 Acceptance 1
A2 Acceptance 2
A3 Acceptance 3
A4 Acceptance 4
B1 Denial 1
B2 Denial 2
B3 Denial 3
B4 Denial 4
B5 Denial 5

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(VxPxC) - Noche de Rabanos (self release, 2008 reissue)

01. La flor inmortal y el totomoxtle - 18:16

02. Pero congrega practicamente - 13:22

03. A todos los habitantes de la ciudad en el area del zocalo, - 14:18

04. Quienes concurren con el objecto de admirar la creatividad de los participantes - 11:20

The second long-form tape. This one celebrating Noche de Rabanos, the Night of the Radishes
festival. Four long tracks to take you on a journey through the Zocalo in Oaxaca to observe the
spectacularly carved radishes of this celebration.
(VxPxC)

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(VxPxC) - First of December Day (self release, 2005)

01. Mono Filament Blues - 5:21

02. The Reverend P - 1:15

03. Fake Organ March - 7:12

04. Mad Hatter's Waltz - 6:15

05. Clouds & Sea, Winds & Sails - 7:28

06. Mother of Pearl - 11:06

07. On the Island - 7:32

08. One Minute Interlude - 1:02

09. Once More, With Feeling - 3:26

10. On The Boiling Sea - 8:25

11. Riding the Waves - 3:05

12. May All Yr. Dreams - 8:01

13. Sea Shanty Interlude - 1:01

14. Second To Last Thing I Do - 2:07

15. As Yu Descend - 2:38

16. The Last Thing - 3:08

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(VxPxC) - Election Day (self release, 2005)

01. Early Mornings Budding Sickness - 4:05

02. Dressing Down The Drapery - 5:01

03. Broken Record Interlude - 2:15

04. Song To Ward Off Evangelicals - 7:35

05. Foggy Landings - 0:53

06. Wavering March - 4:23

07. Drunken Rhythms - 2:49

08. Music To Read Voting Guides To - 6:12

09. Dry Ice - 6:26

Side B

10. Apologetic Interlude - 1:08

11. Political Playing Points - 5:46

12. Everything's Going To Be Alright - 9:04

13. Real Time Slow Motion - 4:57

14. The Sleepytime Collection - 4:03

15. How Our Grasps Seem Fleeting - 6:33

16. An Old Familiar Tune For Drifting Away - 8:06

17. All Done - 0:06

Obviously quite concerned with the evil state of the American government, but still morbidly fascinated with the celebration of it in holidays, these purveyors of moody ambience return with a solid collection of improvised pieces. Ranging from the bluesy but drugged “Song to Ward Off Evangelicals” to the never-ending sonic waves of “grain” found on “Music to Read Voting Guides By”, Election Day is one release worth voting for again and again.

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(VxPxC) - Arroyo Mountain Day (self release, 2005)

1. TB Blues 2005 - 1:12

02. A Mechanized Sunset... - 0:45

03. Brings a Mechanized Night - 2:47

04. And a Cold Wind Blows - 2:09

05. Insect Fiddlers - 4:49

06. Banshees with Laryngitis - 3:51

07. They Came on Silver Boats - 3:50

08. The Aliens Brought Maize - 5:29

09. Acoustic? - 3:59

10. They Left on Corn Husks and PBR Cans - 4:05

11. Blisters on My Fingers - 4:43

12. The Hills Are Alive with Ghosts - 4:55

13. Voices Without Mouths - 4:30

14. Dawn Breaks - 8:46

15. "Hill" the Musical - 0:39

High atop this haunted mountain in old Los Angeles comes a sound both frightening and inviting.
Moving further away from the holiday themed titles, this seems to dedicate itself to a place AND a time.
Recorded outside, but definitely manipulated inside, this acoustic/electric affair is a truly cybernetic synthesis of our modern world. Acoustic guitars and banjos collide and juxtapose nicely with looped keyboards and feedbacking Jew’s Harps and harmonicas.
(VxPxC)

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