From The Guardian, a link to a free preview stream of Ms. Roberts’ next album:
Most artists end up looking cautious and blinkered when put next to Matana Roberts and her utterly epic 12-album project Coin Coin, which has now reached its third chapter. She’s jokingly described it as “my Ring Cycle”, and it’s just as weighty. It’s an exploration of black history, femininity and American identity, reaching back into the horrors – and moments of glorious emancipation – of the antebellum era and the civil rights struggle.
In Chapter One: Gens de Couleur Libres, she used a jazz orchestra, contracting to a smaller ensemble for Chapter Two: Mississippi Moonchile. In chapter three, subtitled river run thee, Roberts strikes out solo, threading her saxophone, improvised song and spoken word through multiple layers of field recordings, in a gorgeously dense journey to the past.
End of the Alphabet Records are proud to announce their 5th and 6th releases since the label started in September this year: “Live at the Pyramid Club” by FANZ and “Microfeedback Lausanne” by Yan Jun.
FANZ are a four piece freak noise outfit from Wellington, New Zealand, featuring the legendary Antony Milton (here taking the drum seat), End of the Alphabet boss man, Noel Meek, South Korean performance artist, Samin Son and noisenik Fergus Nelson Moores. They have been described as being “something like a cross between The Skaters and The Futurians” (Pseudoarcana). Solidly in the New Zealand tradition of weirdo outsider noise makers, FANZ are four solo music freaks getting together to make a racket that one audience member described as “symphonic noise.”
“Live at the Pyramid Club” was recorded at the most recent in a 15 year tradition of music venues in Wellington dedicated to experimental music and consists of two sides of improvised free noise and drone propelled by caveman drums. It is a wild ride of an album that sucks its listeners into a whirlpool of feedback and screams . . .
Yan Jun’s release, “Microfeedback Lausanne”, End of the Alphabet’s first (and far from last) release from Asia, is a simply sublime work of feedback drone; electrics stripped back to nothing but their essential bliss. Recorded as part of a “series of headphone concerts as hypnotizing events” in Switzerland, “Feedback Lausanne” is a work of beautiful simplicity.
Yan Jun, known as the “Godfather of Chinese experimental music” (Tinymixtapes) has been working in experimental music since the early nineties as a writer, musician, sound artist and organiser. He is a key figure in the Chinese scene and massively influential both inside and, increasingly, outside of China. His writing features regularly in The Wire, he tours widely internationally and organises a plethora of gigs at home in Beijing.
Jimbo Walsh Quintet – 24 June 2014
Jimbo Walsh – piano & guitar, Jesse Morrow – bass, Dave Cappello – drums, Travis Blotsky – saxophone, Janna Saslaw – flute
Rex Gregory Trio – 10 June 2014
Rex Gregory – saxophones, Jesse Morrow – bass, Marcello Benetti – drums
Tarik Hassan Quartet – 3 June 2014
Tarik Hassan – bass, Chris Alford – guitar, Paul Thibodeaux – drums, Rex Gregory – saxophones
Helen Gillet & James Singleton
Helen Gillet – cello & James Singleton – bass
Open Ears Big(ish) Band – Celebration of Sun Ra
Jeff Albert – trombone & conductor; Jimbo Walsh – piano; James Singleton – bass; Doug Garrison – drums; Antonio Gambrell & John Culbreth – trumpets; Rick Trolsen – trombone; Ray Moore, Rex Gregory, Brad Walker, & Dan Oestreicher – saxes; Janna Saslaw – flute.
This is from a 62 CD set called “The History of Electroacoustic Music” that was floating around as a torrent, reputedly curated by a Brazilian student. It’s sketchy. The torrent vanished and the collection has long been unavailable.
The selections include:
Messiaen – Oraison – 1937 – For Ondes Martenot
Cage – Imaginary Landscape – 1939 – For 2 phonographs
Schaeffer – Presentation du Concert de Bruits – 1948/06/20
Eimert, Herbert – Klangstudie I – 1952
Luening, Otto – Low Speed – 1952
Stockhausen, Karlheinz – Étude – 1952
Goeyvaert, Karel – Komposition Nr. 5 – 1953
Nels Cline is a gateway drug in the best of ways. He’s known as the guitar player for one of America’s best bands, Wilco. His crazy performances, filled with static shrieking and string bending, have led fans to the other side of music. It’s a style that interweaves jazz, progressive rock and noise.
This small selection of ditties, featuring groups of which I have been a member of over the centuries, collaborations, one-off oddities and other such thrills, has been lovingly hand-plucked for your amusement from amongst my horribly vast collection of cassettes, CDs and hard disks, and streams in scintillating 320kbps MP3 quality. Note that this page will be updated occasionally, on those rainy days when I have time to pore over the crates full of cassettes and hard disks.
‘Ordnance, Tape Only’, or oTo to its friends, was a sound-art off-shoot project from fencing flatworm recordings, the micro-label I co-ran with Sean Keeble in the early years of this century. There were fifty oTo releases, with each release limited to a numbered fifty copies, all on one-sided cassette tapes. Apart from the artist name and the catalogue number no other information was included. It became a cross section of the UK noise underground at the time and even attracted the attention of the international experimental jet-set with, for example, Thurston Moore donating some skronking.
Every Contact Leaves a Trace is a new CDr label launching Monday 20th January 2014. There are four initial releases available for purchase, stream and download – a process edit of field recordings made inside 20th Century Fox’s 1965 film The Sound of Music, by Henry Collins; a reworking of concert performances by Dominic Lash and Will Montgomery; a collision of broken instruments and field recordings by Ignacio Agrimbau; and four recordings made in the field – but not of the field – by Seth Cooke.