Exclusive Premiere – Javier Areal Velez’s KrTvvTcccT

rrrrrrrrrr tKtK is the debut solo record from Argentinian guitarist JAVIER AREAL VÉLEZ. Its seven self-contained improvised pieces explore different sides of an often furious, angular, and obstinate performing style on prepared electric guitar. Nefarious Industries has confirmed the record for August release.

The musical approach of JAVIER AREAL VÉLEZ relies heavily on a primal technique that emphasizes timbre and rhythm and avoids traditional forms in favor of intensity and dynamic contrast. The physicality of his interactions with the guitar creates estranged and unstable sonic entities that evolve haphazardly, free of preexisting genres.

AREAL VÉLEZ blurs the edges of his instrument, playing from a standing position while moving around and using just a few objects or preparations (pieces of wood, metal, rocks) to attack and alter the guitar’s sound. His sound goes through a pair of pedals to a large amplifier at max volume. This setup allows him to exploit the sonic spectrum to its limits, spontaneously recycling errors and unexpected sounds.

The seven songs on rrrrrrrrrr tKtK were performed entirely by JAVIER AREAL VÉLEZ solo on prepared electric guitar. All pieces are improvised; there are no overdubs. The record was recorded, mixed, and mastered by Carlos Quebrada in Buenos Aires in 2019 and 2020, and completed with artwork by AREAL VÉLEZ.

rrrrrrrrrr tKtK Track Listing:

1. oïoï
2. aAanr
3. poonG
4. jYsvuPvjj
5. ilpri
6. KrTvvTcccT
7. tlliaaeéeéeéauot

Nefarious Industries will release rrrrrrrrrr tKtK digitally and in a limited cassette run on August 27th. Find preorders RIGHT HERE.

From Javier:

I’d been playing improvised solo prepared guitar sets for some years, trying different approaches while gigging in Argentina and abroad, but it wasn’t until I did a quite long tour in Japan in 2019 that I found this way of playing solo that finally made total sense to me. I realized that it had to be simple and intense: a very limited array of effect pedals, really powerful amplification, and playing standing up instead of tabletop. This gives me WAY less fine control on all the bits of metal and wood I put between the guitar strings, but also leaves more room to unpredictable results and errors; I found I loved relinquishing that illusion of control. I think this discovery may have had something to do with the fact that in Japan even the shittiest underground house gig has the best backline that you’ve seen in your life, with the smallest tube amp being the size of an industrial fridge.

When I returned to Buenos Aires, I quickly asked amazing noisecian/producer/engineer Carlos Quebrada to record this new set. We set up at his studio with my Fender tube amp cranked the loudest we could, put several mics a few feet away from it, I got some earplugs in and just blasted short pieces for a couple of hours, focusing on exploring different preparations and techniques on each one.

In a sense, KrTvvTcccT may be the more straightforward track of the album. I’ve put a metal plate between the strings right over the pickup, which creates a weird magnetic effect that really alters the tone, makes it fatter, more inharmonic, but also drier and percussive like. Then I just shred away with my right hand over all of the six strings trying to do it the stronger and longer I can. It’s like a stamina thing I’ve been practicing for months, just putting a chronometer and seeing how long I can shred until my arm begs for ice. I find there’s very rich possible outcomes from such a minimal and limited approach. Lots of stuff happens while you’re just holding off for your arm’s life. 

So this track explores this super basic right arm technique, while my left hand moves up and down the neck at different rates, and my feet use a freeze pedal to loop and lock microseconds of whatever I play to create high and low backing drones.

JAVIER AREAL VÉLEZ (Buenos Aires, 1985) is a composer, improviser, and curator who performs mostly on electric guitar, with or without objects stuffed among its strings. He’s part of Calato, a loud (free and scored) noise improv outfit, and bizarre electronic experimental pop duo Kyse. Past commitments include post-punk trio Coso and weird songs band El Helicoptero.

As an improviser, AREAL VÉLEZ has collaborated with countless artists from different parts of the world such as Audrey Chen, Nicola Hein, Shayna Dunkelman, Axel Dörner, Brian Chase, Violeta García, Chris Pitsiokos, Jorge Espinal, Andrew Drury, Paal Nilssen-Love, and Jack Wright. Over the last decade, he has toured intensively across South and North America, Europe, and Japan. His music can be found on labels such as HatHut, Buh Records, Vestibular Recs, Lurker Bias, 1039 Recs, Stereo-Neg, Geweih Ritual Documents, Audition Records, El Silencio, TVL Recs, Jardinista!, Border Tapes, and PSH Ediziones.

JAVIER AREAL VÉLEZ coordinates the Sound Arts Center (CASo) of the Ministry of Culture of Argentina, and is the director of RUIDO, an ongoing music series which aims to connect the foremost experimental artists from all over the world with Buenos Aires’ vital new music scene through a network of concerts, workshops, and masterclasses. Ruido has produced the first visits to the country of the likes of Xiu Xiu, Jeremy Gara, Los Pirañas, Julien Desprez, and Mark Fell, and hosted more than one hundred streaming concerts since 2020. Upcoming plans include several releases by Calato, as well as a European tour with cellist Violeta García, in addition to the release of his solo debut album, rrrrrrrrrr tKtK.


New Takuroku Releases

Source: Takuroku.


“Actually, I’m still afraid to play music live. But the feeling of jumping off a cliff, the feeling of being able to go far from my consciousness, the feeling of resetting to go to creation again, the feeling that my world is inevitably opened by customers and people I meet at live performances… these feelings, I wouldn’t get anywhere else. I am deeply grateful that I was able to have such experiences with the help of many live music venues and their staff in Japan and overseas.”


Straight outta the gutter and splattered onto digital for our Takuroku series, we’re pleased to welcome this new suite of incendiary, liquid abstractions from gilgul. We first heard of gilgul’s (otherwise known as Genghis Cohn) prolific spell of 7″ and tape releases from the enthusiastic words of Kenny from Low Company (RIP). Anyone who has revelled in Wolf Eyes’ junk concrete, Graham Lambkin’s primal vocal work on ‘Poem (For Voice & Tape)’, Henri Chopin’s tape work and Container’s breakneck punk take on techno will a home find in gilgul’s macerated sounds. Listing as many comparative names might seem a bit disingenuous, but how gil’s work flows seamlessly between different stylistic approaches, while retaining a driving, caustic energy at its core, is truly something to behold.

New Takuroku Releases

Source: Takuroku.


Bram Devens – Vocals, Guitars
Tommy De Nys – Bass
Erik Heestermans – Drums

“In the past 15 or so years Ignatz has explored all visible cracks and overlapping layers between (or underneath) folk music, blues, singer- songwriter and psychedelia. De Stervende Honden (Dying Dogs in Dutch) know their place more than well, sending the anxious listener with endless psych bass and primitive percussion into a kennel where after a few bites dream state replaces sense of direction.” – Dennis Tyfus


“Consider the whole of your life, what you already do, all your doings. Now please exclude everything which is naturally physiologically necessary (or harmful), such as breathing and sleeping (or breaking an arm). For what remains, exclude everything which is for the satisfaction of a social demand, a very large area which includes foremost your job, but also care of children, being polite, voting, your haircut, and much else. From what remains, exclude everything which is an agency, a “means” — another very large area which overlaps with others to be excluded. From what remains, exclude everything which involves competition. In what remains, concentrate on everything done entirely because you just like it as you do it.” – Henry Flynt definition of “Brend,” from “Against “Participation”: Total Critique of Culture”

Gordon Grdina to Launch New Label This Fall

Source: Gordon Grdina.

Attaboygirl Records will make its official debut on October 22, 2021, with the simultaneous release of the first two entries in its catalogue. Pendulum is Grdina’s third solo album and the second composed for classical guitar and oud. Klotski, meanwhile, marks the studio debut of Gordon Grdina’s Square Peg, an exploratory quartet featuring Grdina on guitar and oud, Mat Maneri on viola, Shahzad Ismaily on bass and Moog, and Christian Lillinger on drums.

A third new release will follow in January 2022, with the meeting of guitar innovator Marc Ribot with Grdina’s Arabic music ensemble Haram. Grdina will also continue to record for other labels in the new year; in May 2022 the much anticipated second outing by Grdina’s explosive Nomad Trio with pianist Matt Mitchell and drummer Jim Black will be released via Astral Spirits.

Tim Story’s Moebius Strips Coming This Fall

Source: Curious Music.

As many an inquisitive kid knows, a Moebius strip is a loop with a half twist–draw a continuous line on one side, and it magically connects with itself. The two sides of a strip of paper somehow become just one. Serious mathematics aside, it’s a marvel that seems to reside slightly and delightfully outside our predictable 3D universe. A fitting comparison no doubt to the music of Dieter Moebius, a distant relative of the famous 19th century German theorist who revealed the quirks of his namesake ‘strips’. With a legacy of singular music that includes seminal work with Brian Eno, Conny Plank and most memorably with Hans-Joachim Roedelius in the duo Cluster, Dieter “Moebi” Moebius left us, with his passing in 2015, a rich musical universe equally beguiling and subversive.

Moebius Strips is American composer/sound artist Tim Story’s unique homage to that legacy–an immersive multi-channel audio installation assembled from the trove of inspiring sounds and methods the Swiss German pioneer left behind. Simultaneously respectful and playfully inventive, Story draws upon his decades-long friendship with Moebius for inspiration, imbuing the whole with the American artist’s fascination with the malleability of sound and context, and a desire to bridge the divide between listener and composer.

Story’s remarkable collaborators for this project include Geoff Barrow (Portishead, Beak), Sarah Davachi, Jean-Benoît Dunckel (Air), Eve Maret, Mark Mothersbaugh (Devo), Phew, Hans-Joachim Roedelius (Cluster, Harmonia), Michael Rother (Harmonia, Kraftwerk, NEU!) and Yuri Suzuki.

Using Moebius’s sounds and loops, Story reimagines his friend’s inventive and slightly skewed aural universe as an engaging and elusive 3-dimensional sonic sculpture. Removed from their original contexts, these loops recombine in hypnotic arcs and visceral squiggles–mischievous, unorthodox, both warm and unsettling. Moebius loved collaboration, and Story approaches the Strips with a similar sense of community. Moebi’s music continues to inspire a generation of sound explorers and composers, and Story honors those connections by inviting a distinguished group of artists to add their voice to the Strips – to interact in their own unique ways with the constructions.

You can pre-order the album here.


New Takuroku Releases

Source: Takuroku.


“The recordings used in Invaded by Fireflies were not initially gathered for the uniqueness of the voices. Rather, I asked friends to describe memories of a beautiful place, recorded these memories straight onto cassette and then used the recordings in my live performance. In early 2021, while missing the sounds of humans, I decided to revisit these. It was only when I began to bunch the recordings together for this piece that I was struck by the beauty and variety in the voices themselves.” – Natalia Beylis


‘Singing Below the Surface’ features 7 tracks, each of with their own haunting identity. Through subtle collaging, spatialisation and musical symbiosis, Tom opens the liminal space between real and imaginary worlds.