A year ago , who would have thought that only appeared Pk jazz Collective will be the main driving force of our label .
This is reflected not only in the number of published album received many positive reviews , but also in collaboration with many artists such as: Ховбай Хвекмеев, Павкашавет бантут and Alex Fry from Break The Bans.
Now we are reached for a new album by Pk jazz Collective, and I want to note that Вячеслав continues to vocalizing, just like in 4×4, his previous album . Here we can see departure from the kraut- jazz to psychedelic rock , with a strong impact of “The Doors” sound.
Also there is a collaboration track. Track “Just With You” co-wrote with Moscow band Райт.
All music & text by Pk jazz Collective (Vyacheslav Korotin)
(01) We’ll Never Grow Older text by Boris Grebenshikov
(05) Just with you music by Райт
Artwork by Vyacheslav Korotin
Pk jazz Collective:
Moscow school teacher Ховбай Хвекмеев (Khovbay Khvekmeev) already had appeared in duet “Райт” and avangard-improvisational collective “Стол-Стул-Стены” (Stol-Stul-Steni). He also collaborated with Pk jazz Collective on their retro album “1967-1976 The Best”. “Летающий Папа” (“Flying Father”) introduces us with his own works. There are no psychedelic motives and free-jazz passages, just only acoustic guitar and theatrical and ironic songs. Impressions of the world expressed through the little trifles.
All music & text by Ховбай Хвекмеев
Artwork by Тамара Евграфовна (Гладышева)
Title – Тигран Григорян
Free Download Digital Album:
Not much thought was given to how you, the listener, and your ears would fare in hearing the vocals clearly, more thought was given to how to confuse you and otherwise disorient you. Some consider hearing the vocals clearly an important factor in how they listen to their music. Good for them. Feeling the emotion in what’s being played is harder, and no one likes to do any work for what they love. They want the artists to do it for them. We never have pandered to human requests, that is: normal, natural, simple, commercial, conformist requests. We do enjoy receiving them though, the silly things. We recorded this and it was fun. Not much else can be said. It’s loud, too much so in a lot of areas, just so we could feel clever and different. The title means “To Be Or Be” in Italian, so read into it, interpret it or let it pass by just like your life has and continues to do. You’re getting this free, so take the abuse. This is The Finer Points Of Sadism after all. No synthesizer was used on this LP at all, and any synth noises heard are from circuit bent items. The 3 instrumentals on this album were all improvisations when recorded. Jacobb composed the more structured pieces on a Fender, not on paper, just through chord progressions and memory. All lead guitar and bass was improvised by Jacobb. Ashley used 3 different slides (wood, glass and steel) and a Buddha Machine on her steel guitar, in addition to various delay pedals. Jacobb recorded the sounds of car wash equipment in the mechanical room at a family owned carwash in Boise, using a handheld Tascam DR-05. He also played drums and percussion using plastic trashcans, buckets, steel ladder rungs, floors, etc. A vintage Rhythm Ace and Alesis SR-18 drum machines were used for other beats/rhythms.
1. The Thaw Of Mankind
2. Chaos: In Practice
3. People Are Drugs
5. Magnificent Sight
6. Identity Grief
7. Every Wants In A Wild
8. Barker Who Is 10 Feet Tall
9. Slid Over
11. Fire Meetings
All words by Jacobb Sackett, except track 11, written by Ashley & Jacobb Sackett
All tracks composed and recorded by The Finer Points Of Sadism (FPS), except track 6, composed and recorded by Jacobb Sackett.
Recorded, Engineered, Mixed & Mastered and Produced by The Finer Points Of Sadism (FPS), late February-March 2014 at FPS HQ, Boise, Idaho, USA.
Ashley Sackett: Analog FX, Circuit Bent “ElectroLobotomy” Modular Unit, Steel Guitar
Jacobb Sackett: Analog FX, Bass, Circuit Bent Keytar, Contact Mics, Field Recordings, Guitars, “Orgythms” (meaning Organic Rhythms, i.e. Buckets, Tools, Walls, Floors), Rhythm Machines, Tapes, Vocals
Cover Design & Photo: Jacobb Sackett
“This EP by Klaus Marten is a good showcase of the diversity of sound experiments this artist is swimming in. A good invitation to possibly explore more from where this came from! Be free to tease yourself with this EP…” – Yeah I Know It Sucks blog
This is a mini-LP of mine from a couple years ago called September. As I listen now, what strikes me about this song is the dreamy, woozy quality of the shoegaze-esque songs present on this collection. In my opinion, the ubiquitous nature of these textures (broken up by a couple of harder-edged tracks so not to cross the line into monotony) makes for a consistent and singular listening experience, from which many ideas and themes can be inferred.
This album of mine, Satiety, I think is really good for two reasons: 1, each track to me is really great at capturing and even painting a certain mood. Each track is its own world. And yet, it is also incredibly cohesive considering that, as the whole thing seems to combine to form a singular statement, whatever that may be. The largely abstract and open nature of my instrumentals allows the listener to draw his or her own conclusions.
Klaus Marten was born in Cleveland, Ohio, and lives in Bushwick, Brooklyn, New York, where he spends his days working, hanging out with friends, buying records, and making music on his laptop. The varied influences of My Bloody Valentine, Smashing Pumpkins, Brian Wilson, Animal Collective, The Ventures, The Beatles, Sonic Youth, Deerhunter, and Japancakes (among others) provide a basis for his guitar-based music, which combines shoegaze, rock, surf, country, general experimentation, and other muddled-together genres into broad-ranging tracks as simple as solo guitar works and as complex as lush dream-pop soundscapes…and everything in between.
Hi, my name is Klaus Marten, I am based in Bushwick, Brooklyn, NY, and I would love it if you could check out my latest release, Master Tape, which is available here: https://klausmarten.bandcamp.com/album/master-tape. My music I guess could be described as generally experimental, shoegaze-leaning, but mostly guitar-based and often laden in reverb. I think my music is something different: it is oftentimes abstract, in a way that gets your attention, but also in a way that allows you to apply your own meaning to it. I have heard some really interesting interpretations of my stuff in other reviews, and would be fascinated to have your take on it as well. I would hugely appreciate it if you could take the time to listen, and I hope to hear from you soon!
“Haven’t We Met Before? The Songs of Simon Waldram”
We warmly welcome our new artist Simon Waldram from Nottinghamshire, UK.
Simon’s music is a nice blend of indie pop, psych-folk, rock, lo-fi and various experimental stuff. He released his first songs back in 2009 and this album should be seen as an introduction to his work. It contains 15 handpicked songs from 2009-2014. Hope you will enjoy it, as much as we do.
1981 is an argentinian artist from Concepción del Uruguay, Province from Entre Rios, with an early approach to the musical arts as bass player and experimenting with guitars, keys and percussions. Composing pieces and using an old recorder. In 2004 he started to explore electronic based production. Neodimia derives of this period. An instrumental album with lost words. With the names of the themes we can deduce some concepts: isolation, melancholy, ansiety, plenitude, calm, passion. The metaphoric image of a planet with a eternal autumn, where the mind gives wandering steps, making stops in some short emotions and in the far away memories that talk about reality, this is, maybe, the imaginary sugestion for neodimia.
jim lace and alex nova used to be in onyx system. but then onyx system stopped. so they used an electric guitar, a roland rs-09, an arturia minibrute, a korg wavedrum, a vocoder, a nord lead, an alesis sr-16, and hooves to make a few more songs under their own names.
prog sense. paranormal science fiction vein. story telling. lovely creature afraid to die. stargate. a lover in her hair. afterlife. a man, a broom, the devils. the sound is: late night roxy sleaze, satellite machine cuisine robot synth croon and traces of meditative frippinalia.
“Alive” is a Christmas gift, created by the Russian alternative rock band Taigerbery.
Vladimir: “Every year we record a special song to share some positive emotions. Basically I write songs to release stress and pressure I’m under, but for Christmas there is always something bright. “Alive” is devoted to love for making something that is your calling. Know it, keep it, don’t let it go and do it till you die – that’s what makes us happy and if one have not found it yet we wish to make it happen.”
Vladimir Berlizev – Music & Lyrics.
Andrey Teterlev – Co-producer, mixing and mastering engineer.
Original photo & cover design by Vladimir Berlizev
released 10 January 2014
01 – un gioco sul male
02 – per diluire la paura domestica
03 – anal beehtoven
04 – tu fai il guinness
05 – furniture music #04
06 – v4portronic4 – feat. Tommaso Busatto
07 – hipsteron dub
08 – ceste is a pink rocker
09 – nella città di nessuno
10 – trapianto d’organi
“tu fai il guinness”‘s intro was taken from a video-message by Giovanni Nembrini (Beira)
“furniture music #04” was released for the first time in “furniture music”(SPTOtfSP, 2012) in a 8 kbps mp3 format
“v4portronic4” was recorded with Tommaso Busatto
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