Cover art by shutupandance
![[mikra] – Burn Europa](https://ia601002.us.archive.org/10/items/DAST095_LP_Mikra_-_Burn_Europa_Album/DAST095_LP_00_Cover_1080p.jpg "[mikra] – Burn Europa")
Fantastic analogue basslines (Diclofenac and Desloratadine) and ambience (Leaving quietly remix) show Weldroid in a different light – from his usual industrial percussion to a more delicate subtle feel.
Check out Flying Fist and Leaving Quietly for some quality production.” (4T/Kahvi Collective)
C17H13Cl1N4 – EP [0kbps056]
01 Bronchospasm
02 Landscape
03 Upjohn
04 Meister Sonata
05 SSRI
06 Without Light
MAV [0kbps] Records, February 2014
Colin Webster: Tenor and baritone saxophones
Graham Dunning: Turntable, mixer and dubplates.
Recorded on 12th January and 15th August 2012 in a storage facility in South London.
All tracks recorded live. No overdubs or cuts.
Download includes PDF brochure of notes and images.
Der Erste was recorded on 30 September 2012 at the Atlas Theater in Washington, DC.
Der Zweite was recorded on 27 September 2012 at the Spectrum in NYC.
Gary Rouzer- prepared bass, amplified objects
Gunnar Lettow – präparierter e-bass, electronics
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Tracklist:
01 – Bridage Sta Avanzando 3:06
02 – Perugia 2:11
03 – Via Appia 2:44
04 – Cloaca Maxima 2:54
05 – Viva La Liberta! 2:30
06 – Circus Maximus 2:42
07 – Pompeii 2:00
“The Prejudices Of History”
Or as I remain pleased with part 1, “Malapert and Erratic part 2″
Over the years I have become increasingly aware of what I do as a musician and the need to at least appear to conform to some ideal whether real or imaginary. This may be an attempt to answer the question: What epitaph will adorn my headstone?
It has been documented that I play the saxophone, and indeed this has been the case for around 30 years. The problem comes with the definition of saxophonist. For me picking up a saxophone, alto initially, was required in an effort to undo the learning that I had acquired over several years of classical guitar playing. The guitar still has the feeling of being someone else’s territory and I could not see myself developing in a manner that would create an approach and style that I could call my own. The uniqueness of a musician’s approach struck me as being important at that time, aged 16.
And so the saxophone was selected as my new instrument: its methods and approach being the antithesis of those of the guitar. Looking at some notes from this period it seems that I believed the ideal piece of music (naturally an improvisation) should aspire to infinite variation in dynamics, timbre and colouration, and rhythm. In later years the need for and development of form (rhythm in a wider sense) has become more important.
So the saxophone is not a guitar. Neither are many other instruments. Am I a saxophonist? Am I a percussionist? Probably neither, I am a collector of sound making devices â the saxophone, in a single instrument, fulfils a number of those early requirements. The other instruments are used to augment the repertoire, adding contrast to the saxophone and expanding the music’s soundscape.
As well as a collector, I am an arranger of sounds and occasional organiser of people. Nothing more.
The pieces were all recorded evening Saturday 7th December 2013”
-Mark Browne (from the sleevenotes available as a PDF with the download.
This CD was released simultaneously with Mark Browne’s “The Prejudices of History” (LOR049) – with which it shares some concerns and sounds.
“Since the Industrial Revolution the soil in Britain has changed considerably in its formulation. Where once it almost exclusively consisted of organic matter, it is now likely to hold high levels of metallic elements such as iron, aluminium and copper. Areas where industrial processes took place in the past but have since been reclaimed by nature are particularly rich in this residual metal content.
Plants growing in these environments have, by means of Darwinian natural selection coupled with sheer determination to survive, managed to incorporate various metals into their very DNA. The resulting species display a variety of features only made possible at the point where biology and metallurgy combine.
The aim of this guide is to assist the amateur metallobotanist in identifying these enigmatic plants, and also to instil enthusiasm into those armchair readers who have never searched the disused foundries of Sheffield for a reclusive Cutleri silvaservicia or listened attentively on the hills of West Yorkshire for the soothing sound of a clump of Alpine Cog Daisies (Coggi interlockia) gently turning in the breeze.
The two sound recordings included here have been developed to aid the growth of these unusual plants. By placing a speaker at either side of the specimen (ideally they should be equidistant and each no closer than two feet away) the sound produced will acoustically recreate a very favourable growing environment. Once brought indoors and planted in any kind of container what these organisms miss most are sound vibrations of a metallic nature.
By regularly subjecting your plants to these carefully composed and scientifically tested sounds (about twice a week is the recommended frequency) you should begin to see them flourish and possibly even bear fruit. Of course not all varieties are suitable to collect. Some are protected by law and others are just too bad tempered, quite frankly”
-Chris Whitehead, from the introduction to the booklet “Flora Metallicum Britannica- a field guide to the metallic plants of the Britsh Isles” (included with this download)
Artist/Composer: I.Z. aka IDzeroNo
Language: English
Keywords: Giovannie Hernandez; TheFeeDunk Star; TheDeepr; The Corner; I.Z. aka IDzeroNo; Ames Nick Solder; The Pee Punk BROTHA; D-Ram; Dj RuffShraker; Melvin Clark; The Informers; 95 & Sailaway; D – Ram; hip-hop; media; remix; hip_hop; flyingteam; nyc; classic
This compilation is the perfect soundtrack for your boozy winter!
Merry Christmas and Happy Holidays from Deep Lake Records!
“After releasing my album of melodeon and electronics improvisations, I decided to ask my friends whether they would be interested in reworking any of the material- ‘Please take any music at all from the new release (“Air Buttons” by me) and do what you want with it – mangle it, remix it, add things to it, sing over it, play a duo with it, slow it down, turn it into a tune, cut it up, whatever. BUT please make your contribution EXACTLY TWO MINUTES LONG’.
I was astonished by the reaction- soon sound files were flying at me from all over the world, including from friends of friends of friends, as well as from people who I’ve known since school days- collaborators from my post-punk days, free improvisers, morris dancers, other Linear Obsessional artists, even my next-door neighbour! The results are amazingly varied in style – and all are fascinating, and of course, none of them outstay their welcome.
So- enormous thanks to all my friends in the UK, France, Spain,Ireland, Sweden, USA and Malaysia, you have made me very proud”
-Richard Sanderson 2013
All tracks include at least some elements taken from the album “Air Buttons” by Richard Sanderson.
Richard Sanderson- Melodeon, Footpedals ElectronIcs, Wind-Up Gramophone,
Contact Microphone, Field Recordings.
These pieces were recorded at home in Hither Green, usually on Friday afternoons when the housework was done and before the kids came back from school. As with my previous album of melodeon improvisations the instrument was recorded in three different ways â using footpedals (wah, distortion and pitch change), pushing it through contraptions made with Audiomulch software on my laptop, or augmenting it with other sounds â in this case, field recordings and a wind-up gramophone. The gramophone was recorded with a contact microphone (made by Jez Riley French) attached to the needle, or to a toothbrush. âAbove The Breakersâ was played on pre-WW1 one-row melodeon, all the others were played on a D/G Hohner Pokerwork. The title of âFlim Flamingoâ was suggested by Gary Widdowfield.. âVelux Dopplerâ was created from two field recordings- one of Beckenham Parish Church Bells, the other of the rain falling on the roof window of my bedroom. The field recordings on âShadeâ were made in my garden. The tracks were recorded 2011-13 and assembled November 2013. Thank you for listening.
