All compositions by Nico Roig except
“Sardana Lloses” by Xavi Lloses
Nico Roig : Baritone guitar, acoustic guitar
Joachim Badenhorst : Bass clarinet,
Martí Melià : Bass sax, clarinet, objects
João Lobo : Drums
Miquel Casaponsa : Guitar on “Opera”
Recorded in Pianofabriek by Kenny Martens
and Studio Grez by Giovanni di Dommenico
and Nico Roig in Brussels
Mix: Nico Roig / Mastering: Yves Roussel
Paintings: Rieko Kanazawa
Edition of 400, heavy-weight vinyl with screenprinted open sleeve.
“A Dragonfly For Each Corpse is a record that stands no daylight. A feverish nightmare of an album, dragging us into a brown paper bag —ferocious cannibal jungle ambience seeping through— till we’re cast down some stairs into a cellar made out of spit. A twirling folkballad sung by a ghost made out of chewing gum turns into a symphony of typing fingers, ticking clocks and slamming car doors, like a noirish soundtrack to the kidnapping of the Lindbergh baby, accompanied by squeaking stuffed animals as eyewitnesses. A record that feels like a horror franchise turning into understated drama, where mourners and killers change places in unexpected and drastic fashion. With the collaboration of John Wiese, Josephine Foster, MV Carbon, Thymme Jones.” —w
Only 600 copies available, artwork by Rachel Lowther.
“Talibam! (Kevin Shea on drums, Matt Mottel on keyboards) and Peeesseye (Jaime Fennelly on electronics, Chris Forsyth on guitars and Fritz Welch on drums) have been pals and Evolving Ear labelmates for a while now, so it was only a matter of time before they all got together and let it rip. And rip this certainly does, driven on by the double-barrelled percussion attack, underpinned by Fennelly’s drones and scribbled all over by Mottel and Forsyth, whose wild gonzo soloing is a happy and healthy reminder that one-chord jamming was part and parcel of American alt.rock before the word alt.rock even existed, back when Fugs roamed the Earth and Angus MacLise still turned up for rehearsals, back when these laddies were still twinkles in their daddies’ eyes. Of course, it’s not all one-chord rock —sometimes they dispense with chords altogether and dive headlong into the primeval murky soundpool, with scant regard for whatever sharp rocks and nasty beasties might be lurking under the surface. Loud, messy, dangerous and glorious.” —Dan Warburton
“Relay I” is the first in Smeraldina-Rima’s Relay Series. An artist for the A-side is chosen by the Smeraldina-Rima clan, after which the A-side artist decides upon who will get to fill the B-side. For every Relay 7″ a different artist will be chosen to create the outside artwork. The A-side of “Relay I” fell to Jack Allett, the fingerpicking whirlwind formerly known as Spoono. Allett chose Kalbakken for the B-side. A great choice, Kalbakken, with its shamanistic folk, offers a great supplement to Allett’s strong and droney guitar track. Drawings by Karel Wouters, graphic design by Levi Seeldraeyers. Comes in an open two-colour screenprinted sleeve by Smeraldina-Rima. Pressing of 200 copies, cut and pressed by Record Industry.
“Twilight Peaks” by Robbie Basho is a formal reissue of Basho’s last recordings. It was originally issued in 1984 on a tape label called “The Art Of Relaxation”. It was mastered for vinyl and CD in its entirety by Glenn Jones (of Cul de Sac fame) and Matt Azevedo from the original demo tapes. The LP version contains one bonus track, that was part of the original sessions. CD version also has two extra live tracks. Liner notes by Glenn Jones and Rich Osborn. Drawings by Wouter Vanhaelemeesch. Comes in an open sleeve, designed and screenprinted by Smeraldina-Rima. Second pressing of 500 copies with new artwork.
“Twilight Peaks” by Robbie Basho is a formal reissue of Basho’s last recordings. It was originally issued in 1984 on a tape label called “The Art Of Relaxation”. It was mastered for vinyl and CD in its entirety by Glenn Jones (of Cul de Sac fame) and Matt Azevedo from the original demo tapes. The LP version contains one bonus track, that was part of the original sessions. CD version also has two extra live tracks. Liner notes by Glenn Jones and Rich Osborn. LP cut and pressed by Eldorado. Drawings by Wouter Vanhaelemeesch. Comes in an open sleeve, designed and screenprinted by Smeraldina-Rima. Second pressing of 500 copies with new artwork.
LP purchase on the Smeraldina-Rima site comes with MP3 download code, including the CD-only bonus tracks.
first edition of 100 tapes, screenprinted in black & yellow
deluxe edition ltd to 300 copies. Hand screened sleeves by levi seeldraeyers, artwork by wouter vanhaelemeesch…beautiful and essential document of this seminal US band
edition of 300 LPs, open sleeve with artwork by Nate Nelson and screenprinted inner sleeve
SOTPW: some sort of supergroup, featuring Brian Sullivan & Nate Nelson (Mouthus), Pete Nolan (Magik Markers, Spectre Folk) and Karl Bauer (Axolotl). The LP features two side-long tracks of bubbling, meandering noise-drone collages.
The Gate is Dan Peck, Tom Blancarte and Brian Osborne. Formed in 2008, and originally named Dan Peck Trio, the band has developed an aesthetic that is unique and uncompromising. Dividing time between improvisation and Dan’s compositions, the music ranges from bleak landscapes of near-silence to massive, horrifying sound sculptures. The Gate seeks to break down and confuse the conventional roles of a horn-bass-drums ensemble, revealing the most raw and elemental aspects of organized sound.
“Point well struck between Kentucky doom gnarl and NYC jazz exactitude”
Dan Peck tuba and amplifier
Tom Blancarte electric upright bass
Brian Osborne percussion
Tim Dahl electric bass
Nate Wooley trumpet and amplifier
Levi Seeldraeyers graphic design
Smeraldina-Rima screen printing
Heat Retention Records 036