Zeena Parkins ‎– Mouth=Maul=Betrayer

Sello:

Tzadik ‎– TZ 7109

Serie:

Radical Jewish Culture – 9

Formato:

CD, Album 

País:

US

Fecha:

1996

Género:

Electronic, Jazz, Rock

Estilo:

Illbient, Avantgarde, Experimental, Contemporary Jazz

2:23

Compañías, etc.

• Published By – GEMA
• Phonographic Copyright (p) – Tzadik
• Copyright (c) – Tzadik
• Recorded At – Point's West Studio
• Recorded At – Studio Pass
• Recorded At – Studio zOaR
• Mixed At – Studio Pass
• Glass Mastered At – Nimbus

Créditos

• Cello, Guitar, Mandolin – Mark Stewart (4)
• Cello, Voice – Maggie Parkins*
• Design – KimSu Theiler
• Didgeridoo – Andy Haas
• Drums, Vibraphone [Vibes] – Jim Pugliese
• Edited By, Recorded By [Rotwelsch Texts] – Alex Noyes (tracks: 1a to 9)
• Executive-Producer – John Zorn
• Executive-Producer [Associate Producer] – David Newgarden, Kazunori Sugiyama
• Harp [Electric], Sampler, Piano, Producer, Composed By – Zeena Parkins
• Mastered By [In Matrix] – Nimbus
• Mixed By [Extra Ears In Mixing] – Anthony Coleman (tracks: 1a to 9)
• Photography By [Zeena Parkins] – Margaret Lanzoni
• Recorded By, Programmed By – Alex Noyes (tracks: 10a to 15)
• Recorded By, Technician [Processing], Edited By – Elliott Sharp (tracks: 10a to 15)
• Violin – Sara Parkins
• Voice [Live And Voice Samples] – Carsten Dane (tracks: 1a to 9)
• Voice [Voice Samples] – Matthias Breitenbach

Notas

"Maul" examines the lives and deaths of Jewish gangsters throughout the ages, using texts in the lost language of Rotwelsch (a Yiddish-based thieve's language used in Germany from the 14th to the 19th Century).
Recorded and mixed at Point's West Studio, December 28-30, 1995.
Digital editing at Studio Pass, January-February 1996.
All Rotwelsch texts were recorded at Studio Pass.

In "Blue Mirror" (named for the Newark night club owned by Longy Zwillman) all titles are names of Jewish gangsters from NYC in the first half of the 20th Century.
Recording and processing at Studio Pass + Studio zOaR, January-March, 1996.
Recording and MAX programming with H3000 January-February 1996.
Recording/processing/digital editing March 1996.

Cover photo - January 19, 1917.

EMEGO 227 / Oren Ambarchi

Hubris

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DIGITAL:

DOWNLOAD CODE EMEGO 227

VINYL INCLUDES DOWNLOAD CODE

Bandcamp order

Hubris Parts 1-3

Players:
Oren Ambarchi, Crys Cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O'Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman

Mastered & cut by Rashad Becker at D&M, Berlin, April 2016

Photography by Estelle Hanania
Sculptures by Daniel Druet
Design by Stephen O'Malley

Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.

After a short second part, in which Ambarchi, O’Rourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Francis Plagne

eMEGO 080 / Anthony Pateras & Robin Fox

Flux Compendium

• 1. Apocalypse Now & Then (2:36)
• 2. Aphasia (4:03)
• 3. Freckle Cream (3:29)
• 4. $2.50 (2:48)
• 5. Throat In Three Parts (2:23)
• 6. Perilymph (13:37)
• 7. Olfactophobia (6:11)
• 8. Protoplasm (7:22)
• 9. Flex & Belch (0:43)

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DIGITAL:

Bleep Boomkat iTunes

Total Time: 42:50

Robin Fox - Computer, Programming & Controllers
Anthony Pateras - Voice, Synthi A, Mixing Desk, Electronics & Objects

Recorded, mixed and mastered in Melbourne, March-June 2005 by James Wilkinson @ Wilkinsound

All tracks written and performed by Anthony Pateras & Robin Fox

Photography by Sarah Pirrie
Installation by Natasha Anderson
Layout by Implant

Ectoplasmic drool, ruptured voice, multi-temporal cash, concerti for nostrils, hyperactive excursions into comedy and violence. An aural textbook of constant change presenting a multi-dynamic evaluation of what may be possible with what we have at this point. Equal parts postwar beard and modern patchnocrat, Flux Compendium sees two of Melbourne's hairiest sons nose dive and writhe in their unique take of sonic totalism, rising out of the muck with their kaleidoscopic best. Far from the lifeless plague of spacebartronica, they execute an electrified real-time homage to some of their favorite obsessions: breakneck pacing, vocal hysterics, blistering textures, bodily functions and dysfunctions. Eschewing their intuitive beginnings in favor of more a concrète punk miniature aesthetic.

DeMEGO 015 / Thymolphthalein

Ni maître, Ni marteau

• 1.1. Meta-Tingue (1:17)
• 1.2. Soaked George (3:29)
• 1.3. Off The Wall (3:22)
• 1.4. Mosquito Squash (3:13)
• 1.5. L.B.O.K (0:53)
• 1.6. Streetcar Slugfuck (2:49)
• 1.7. Ayala (3:28)
• 2.1. Jean Psycho (3:10)
• 2.2. Quince (3:04)
• 2.3. Lips (2:17)
• 2.4. Pierre Willy (4:25)
• 2.5. Greatest Hits (2:53)
• 2.6. Pim (4:04)

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DIGITAL:

Bleep Boomkat PROMO CODE DEMEGO 015

SHIPPING NOTES:
WORLD = 10-20 days
WORLD PRIORITY = 3-10 days

Natasha Anderson: contrabass recorder and electronics
Will Guthrie: percussion and electronics
Jérôme Noetinger: tape machines and electronics
Clayton Thomas: double bass and preparations
Anthony Pateras: prepared piano and analogue synthesizer

All music by Thymolphthalein, performed live at SWR2 New Jazz Meeting, Gare du Nord, Basel, 15th November, 2009

Cut at Dubplates & Mastering, Berlin, December 3rd, 2010. 45 rpm

Please note: Due to the extreme dynamic frequency range this record was cut at 45rpm at a lower level. PLAY LOUD!

Design by Shehab at Implant, Melbourne

A key ingredient in disappearing ink, THYMOLPHTHALEIN describes the working method of this brilliant French-Australian quintet

Leader Anthony Pateras conceived a detailed hour long structural premise for the group’s first tour in 2009, creating a masterful pastiche of richly dynamic, timbrally devastating explorations for electro-acoustic ensemble, melded by his own distinctive prepared piano and analogue electronics.

Natasha Anderson combines buzzing slabs of electro-acoustic sound with fractured acoustic gestures, sculpting exquisite perceptual explorations with recorders and electronics, producing a poetic and uncanny otherness.

Will Guthrie expertly fuses the drumkit with an array of homemade electro-acoustic devices to produce a fluid cataclysm of sonic richness, melded by his searing technical prowess and faultless ear.

Jérôme Noetinger is THE live concréte maestro, electro-acoustically manipulating his bandmates with expert timing and breathtaking invention, scrambling proceedings with the occasional ring-modulated depth charge.

Clayton Thomas’ thoughtful and virtuosic prepared double bass playing has taken Europe by storm since moving there from Sydney in 2007 – part groove cannon, part kinetic sculpture, all parts BAD bass skills.

DeMEGO 006 / Anthony Pateras & Robin Fox

End Of Daze

• 1. Prelude (3:27)
• 2. Apollonian Gasket (2:17)
• 3. You're All Answers (5:40)
• 4. Whipped Silk (3:51)
• 5. Rupture (6:58)
• 6. A Simple Death (3:08)
• 7. Lung Butter Blues (1:55)
• 8. Hyperpole (7:44)

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DIGITAL:

Bleep Boomkat iTunes

Total Time: 35:20

Robin Fox: Computer, Controllers, ARP 2500, Programming
Anthony Pateras: Computer, Doepfer A-100, Voice, Revox B-77

All tracks recorded at Chinatown Studios, Brunswick.
Mixed and mastered at Wilkinsound, West Footscray, Melbourne, Australia, 2008.
ARP 2500 materials in "Rupture" recorded at WORM, Rotterdam

Design by Clare Cooper

The first cabs off the Editions Mego rank in 2006, Pateras and Fox return with their third shredding album of Antipodean-blasted bliss that will get even the darkest of doomlords crawling out of their abyss of hatred, and dancing like lunatics.
End of Daze is a bulletproof testament to the Duo’s eight year history in the trenches of live electro-acoustic music - their messy, over-the top contact-miked beginnings now formed into a powerful and futuristic meta-language borrowing from the early electronic masters, bizarre sound poetry, vintage synth festishism, the eternal patch tweak and good old fashioned Melbourne experimentalist brutality, fuelled by a poisonous love affair with sonic invention.
A combination of materials forged live on stage alongside carefully considered studio mayhem, the audio contained on this disc is their finest vein-popping blend of chaos and order to date. Recorded beautifully by longtime engineer James “Wilkinsound” Wilkinson in Melbourne, combined with some sessions from WORM in Rotterdam, End of Daze promises a sonic range as wide as its genesis, complete with angry boy artwork courtesy of Clare Cooper.

psychic-jams

http://www.thewire.co.uk/in-writing/essays/kasper-opstrup_psychic-jams

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