Le Piano Demécanisé is a vinyl album with music played on a dismantled piano. The release of the album goes in tandem with the publication of the new issue of RTRSRCH magazine, in which Frederik Croene presents the text accompanying the LP. The LP was pressed in an edition of 500, sleeve design by Joris Verdoodt.

http://www.frederikcroene.com/
http://www.youtube.com/user/frederikcroene

Belgian guitarwizard gets carte blanche.

"Trumpet/Amplifier: three pieces of unrelenting pressure, from choking bursts of muteness to firestorms of sound. Trumpeter becoming trumpet. Brass ventriloquism." —ttt

"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

"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

Stellar vocals and drones by Sachiko of Overhang Party; three pieces of hypnotic, gliding delight. This is Sachiko's first —all-drone— vinyl release, in an edition of 350. Heavy-weight vinyl & paste-on sleeve with artwork created by Johan De Wilde. AudioMER. edition in collaboration with Croxhapox gallery.

This is what David Keenan had to say about the album:

"Major new album from one of VT’s central obsession, Japanese underground femme Sachiko, ex of Kousokuya/Overhang Party. This LP is pressed on 180g vinyl and comes in a run of only 350 copies. The first side is a completely mesmerising stone. Accompanied by Rinji Fukuoka (Overhang Party) on voice and cello, Sachiko sounds as if she is gargling planets as she levitates wordless vocals through a slowly shifting bible-black background of orchestral drone and Eternal Music strings generated by vortices of cello and viola and hovering electronics. Can’t think of anything that so beautifully combines the vision of the original Dream Syndicate with the aesthetics of dark Japanese psychedelia. On the flip there are two tracks, both of which extend the time-blurring effects of the first side into new zones of heavenly tonefloat, with Sachiko’s high vocal style dissolving in butterflies of F/X while electronics hiss and spit and intergalactic shortwave travels through endless space. Easily the best record she has made to date, a mesmeric slice of higher-minded drone narcosis and a classic Japanese underground side. Highly recommended."