Matthew Shaw´s Equinox, recorded during the vernal celestial intersection in Christchurch, Dorset, is an earnest, microcosmic event. An alchemist at marrying the field recording and drone worlds, Shaw turns the base metal of domestic, avian cackle into ambient gold. Craning gradually backward from ground level upon the cello swell of E-bow guitar, the treetops are disturbed, stirring a cacophony of crows, thrushes and wood pigeons. A deep, throaty Moog synthesizer, dusting off seventies memories of the likes of Tomita electrifying Holst´s “Planets”, surges ever upward until it finds – a voice. Singing so gently it sounds more like hearing the thoughts going through his head, Shaw urges us to embrace the bigness and remember that we are stardust.
Shaw´s instrumental expressivity and philosophical sincerity is a refreshing tonic. Equinox is but one, small bright spot in an altogether empyrean discography.
First up is a tape from the darkest depths of the South Island of New Zealand – deep and beautiful electronics from MIR out March 1st. Described by the artists as “Xeno-electronic emissions woven from a blackened blend of technoid deconstructions, harsh noise, post-industrial electronics, and dark alien dronescapes…” “In the Dust of this Planet” is a beautiful and disturbing foray in a world of bleak post-techno.
Following this is a series of very limited edition 7″ lathe cuts split between New Zealand and international artists.
In April we’ll have Japanese noise legend, KK NULL (Zeni Geva) vs. Wellington noisenik, Mischancerie.
In June we’re happy to have noise legend Bruce Russell (Dead C) return to the label, this time on a split with malaysian sound artist, Goh Lee Kwang.
And in July, the depths of the southern winter, warm yourself with two of our favourite guitar sound benders: Makoto Kawabata from modern psych masters, Acid Mothers Temple, sharing a lathe cut with homegrown Kiwi genius, Kraus.
Living in New York City between 1976 and 1985, Kevin Diehl found himself in the midst of the fertile loft jazz scene. During that now-legendary period, some of the most influential and forward-thinking musicians of the last half-century gathered together in Soho, forging a new sound building on the 1960s avant-garde and asserting their independence from major record labels and nightclubs. They were a group fueled by the communitarian spirit of organizations like Chicago’s Association for the Advancement of Creative Musicians (AACM) and St. Louis’ Black Artists Group (BAG). During the period that Diehl lived in New York, these rich hybrid musics cross-pollinated with one another and planted the seeds that would grow into his long-running group Sonic Liberation Front once he returned to Philadelphia.