Screen printed edition of the album, in an edition of 500, with no less than 25 different covers.
It is obvious that Michiyo Yagi is the wild card on this album. While drummer Paal Nilssen-Love and noise guru Lasse Marhaug are among the fearless innovators of the Norwegian experimental music scene and McPhee has been part of the transcontinental free jazz collaboration that started about twenty years ago, the connection with Yagi came somewhat later. Since the start of the millennium, this virtuoso koto player has gradually become widely known as a radical freethinker, equally at ease in freely improvised music as in contemporary classical and the traditional music of her home country, Japan.
The connection with Nilssen-Love started more than a decade ago. Since then, the two have regularly met, bonding with a.o. Peter Brötzmann. By the winter of 2011, the trio of Yagi, Marhaug and Nilssen-Love had already recorded at Tokyo’s GOK Studio, but the recording of this quartet two years later, became something different again. Of course it is obvious that any record involving the rightfully legendary McPhee will have something exceptional to offer.
Perhaps the most striking aspect of the recording is that it did not become a muscular free-for-all session. ‘Soul Stream’ is certainly not without its moments of broiling intensity and white hot interplay. But the overall impression is subtler, as the rage and thunder these people are capable of are replaced with a more nuanced, flowing and no less exceptional interplay. Yagi’s command of the electric 21-string koto and the 17-string bass koto meshes seamlessly with Marhaug’s knack for sound coloring and the diverse techniques of McPhee – lyrical and incisive, as usual – and Nilssen-Love, who is once again playing with his trademark abandon.
At once searching, genre-bending and ritualistic, ‘Soul Stream’ entirely lives up to its title.
– Guy Peters
electric 21-string koto, 17-string bass koto
pocket trumpet, tenor and alto saxophones
electronics and objects
drums and percussion
All music by YAGI (Hotwire Inc), MCPHEE (JOMAC Publishing, ASCAP), MARHAUG (Tono), and NILSSEN-LOVE (Tono)
Recorded by YOSHIAKI KONDO
at GOK SOUND, Tokyo on January 21 2013
Mixed and produced by LASSE MARHAUG
Co-produced by MARK E. RAPPAPORT
Artwork by MANOR GRUNEWALD
Graphic design by LASSE MARHAUG & LEVI SEELDRAEYERS
Screen printing by LEVI SEELDRAEYERS
Special Thanks to SACHI HAYASAKA, RYOSUKE “RIO” NAGATA,
MIZUHO YABE, ZODIAC WORKS, NORWEGIAN MINISTRY OF FOREIGN AFFAIRS, NORWEGIAN JAZZ FEDERATION, and FUND FOR PERFORMING ARTS
Edition of 496, heavy-weight vinyl with screenprinted open sleeve. Liner notes by Ben Hall.
“Trumpet/Amplifier: three pieces of unrelenting pressure, from choking bursts of muteness to firestorms of sound. Trumpeter becoming trumpet. Brass ventriloquism.” —ttt
At +50.92509° latitude and +03.84800° longtitude Niels Van Heertum recorded his first solo record, in the well-known warmth of his living room, in a windmill in the East of Flanders.
On the one hand the record explores the sonic possibilities of the euphonium, tuba and trumpet. On the other hand it creates a place without haste. Pure intervals are superposed and moved in order to avoid tension and agitation. Meanwhile the amplified horns circle around the rounded windmill room forming a dense woven web of sound.
Niels Van Heertum makes music of many sorts: he was co‐founder of the improvisation collective Ifa y Xango, is a member of Linus + Økland / Van Heertum and granvat’s Book of Air: vvolk, and plays with Chantal Acda, Norberto Lobo’s Oba Loba and En avant, marche! a theater piece by Alain Platel, among other things.
Now for the first time, he comes forward with a solo album. The record is part of JK’s Kamer, a series of solo performances by granvat that focuses on the sound of the instrument itself as its repertoire, and is co‐released by Smeraldina‐Rima and granvat.
released January 13, 2017
All music improvised by Niels Van Heertum on euphonium, tuba, trumpet and electronics on February 3th 2014 at the Thienpontmolen
This record is part of JK’s kamer, a series of solo performances by granvat
Production by Bert Cools and Stijn Cools
Recording and mixing by Stijn Cools
Mastering by Uwe Teichert
Photograph by Sergej Prokudin Gorski
Graphic design and screen printing by Levi Seeldraeyers
Words by Sanne Huysmans
On the other hand, if I don’t think about what comes next, I mustn’t even hurry and I can linger in this moment a little longer
LP version of this album, comes packed in an offset discosleeve, a three colour screen printed open sleeve, and a screen printed PVC outer sleeve. Edition of 400.
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
“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.
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