Kiyoharu Kuwayama / Urabe Masayoshi - From The Abolition Port (Intransitive Recordings, 2010)

A gripping, devastatingly patient, and emotionally raw improvisation for cello, saxophone, and metal chains recorded live at Kuwayama Kiyoharu‘s cavernous warehouse space in Nagoya, Japan in March 2002. Rather than an event-driven, linear performance, From the Abolition Port is a single structure, with the ghostly presence of the space acting as either a third performer, or perhaps as the composer. The music is violent in its sparseness; sharp instrumental outbursts push with great effort against a backdrop of blackness as dense and heavy as the sun. From the Abolition Port suggests a private ritual, or a seance… or perhaps absurd theater, with unseen players circumnavigating a pitch-dark industrial space, sending out desperate distress signals and futilely listening for a response.

Alto sax player Masayoshi Urabe is known for his solo performances, but has worked alongside fellow psych/noise travellers Kosoukuya, Junko, Hiroshi Hasegawa (Astro, CCCC), Kan Mikami, and Chie Mukai. Kiyoharu Kuwayama played cello in the duo Kuwayama-Kijima, but his primary project is the Catastrophe Point series, which he records under the name Lethe.

(note: this album was recorded on October 2, 2003, not October 3, 2002 as is printed in the insert)
Intransitive Recordings

you can also read an interview from Kiyoharu Kuwayama with Seth Nehil in Umbrella Action

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Loren Boyer - Des Parasites Risquent De Se Produire (Intransitive Recordings, 1999)

1 Au Peche Mignon 3:35
2 Bon A' Rien 1:41
3 Il Ne S'Agit Plus 1:41
4 Au Fait 4:50
5 Que L'On Bat 13:05
6 Il N'y Avait Pas A' Discuter 0:12
7 Segue 3:08
8 De Moins En Moins 5:32

A native of northern Florida, recently relocated to Boston, MA, guitarist Loren Boyer presents nine homemade electro-acoustic compositions on his first widely available recorded work. "Des Parasites..." downplays guitar in favor of amplified toys, tapes, bizarre atmospheres, and electronic drones. The result is an introspective, claustrophobic album of melancholy song-like forms, at times innocent and naive, or oppressive and raw. From the gritty, distant percussive opening to the majestic tape-squeal finale, "Des Parasites..." is a concise and intensely personal statement from a unique and underdocumented artist. Includes introductory essay by Davey Willams.
Boyer currently performs both solo and with Harvey Benschoter as the electronics duo Horse Sinister.
"Immediately impressive... Time, or maybe time pieces, could play a part in the construction of this series of (mostly) guitar compositions, nearly all of which have something curious ticking inside them. Elsewhere, subterranean drones and radio squeal add thier atmospheric weight to the proceedings until, finally, Boyer's pecking guitar style emerges fleetingly before being gobbled up in a storm of sonic flak. Great stuff." -Edwin Pouncey, The Wire.
"The music is throbbing and ominous, subterranian and seditious. It is sleepwalking at noon with civil defense sirens going off all around you. In short, this music is disturbing." Glenn Engstrand, The Improvisor.
"A perfect companion for everything but sleeping. Decidedly great." Nirav Soni, Ink 19

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Brume - Krieg (Intransitive Recordings, 1999)

1 Krieg (16:36)
2 Un Terrain Vraiment Vague (8:36)
3 Mass-Matic (18:49)
4 Annie Aime Les Sucettes (9:06)
5 Anastomose, Part 3 (8:04)

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Richard Chartier - Direct, Incidental, Consequential. (Intransitive Recordings, 1998)

1 Digisc (5:39)
2 Section (13:38)
3 Compakt Lo (4:58)
4 Lens (4:00)
5 Signal (5:24)
6 Slow End (4:43)
7 Archival (6:25)
8 Test & Duration (6:07)
9 Tonetint (10:19)

Intransitive's second CD release is a trademark for the label: handmade digipacks, each with the own coloured paper and sticker with info. This label concept is developed by one R. Chartier, a designer who makes music too.
If I was a rude boy, which I am not, I could eaily describe this as 'Ikeda on acid': harsh bleeps, utter deep bass, but luckily more is happening. Chartier moves with several minutes into more passages then the average Ikeda (so it is less minimal), the average Guenter (so it is more audible), or the average Meelkop (so it may be less composed), or the average Rehberg (so it is less beat oriented noise). You may get the picture. Chartier takes inspiration from these people, but adds his own voice, one that is at times more industrial, and certainly throughout more varied in the sounds and compositions used here. A nice cross-over between anything on Trente
Oiseaux and Mego, so the hypy boys 'n girls know where to be.
Vital Weekly

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