The album is limited to 300 and comes on pink vinyl and comes with a DL.
Walls Of Dada is Chris Olley from SIX BY SEVEN and Peter G Holmström from The Dandy Warhols. It's a Transatlantic coldwave pop album which has all the analogue warmth and cold war atmosphere of a record coming out in 1982. Chris and Pete first met in 1998 when The Dandy Warhols asked Six By Seven to support them on their first UK tour.
They have been in contact with each other and remained friends ever since and over the years had always talked about making some music together. About a year ago, after hanging out at a Dandy's gig in Nottingham, they made a plan to get something started.
For Chris, and his aversion to making music using computers, the idea from the outset was to create something by simple means so as not to get bogged down by technology and end up sending myriad files and stems across the internet from one computer to the other. In his studio in Nottingham Chris put a drum machine through an amp and synced and sequenced an analogue synth to it and recorded the sounds onto an 8 track recorder.
After adding vocals a Stereo Mix was bounced down and sent over to Portland, Oregon. There, in his home studio, Pete added guitars, bass, synths (and a banjo) to the mix and topped and tailed the songs and sent his own stereo mix back. That was it. No more overdubs were added and there was no heavy mastering or compression or loudness wars were entered into.
A lot of vintage guitars and pedals and synths were used in the process and everything was recorded through amps. This was a throwback to the days of the early eighties when bands started to record on the first commercially available four track recorders and portastudios made by Fostex and Tascam. Because there were only four tracks, a lot of bouncing had to be done and this resulted in hard decision making at an early stage of the recording process and a 'no-going-back' recording, which meant you were committed to something you couldn't change.
This is the process which Chris and Pete wanted to tap into to make Walls Of Dada have that unusual edge that bands these days just don't have anymore because the digital world now provides unlimited space and tracks.
After working on roughly 20 songs across the year the result is an album that sounds like it could have been made in a cold Sheffield or Manchester basement or bedroom back in 1982.
Tracklisting: Side A: 1. You Pollute Me 2. Tung 3. Born Ruthless 4. Anything
Side B: 5. I Never Promised You 6. ILL 7. Pigman 8. There is Only This
Visions Congo is yet another moniker from Discrepant’s head honcho, Goncalo F Cardoso, taking Africa as a starting point to evoke the memories and re-imagined experiences of his 6-month stay in the region, back in 2015.
Most of the recordings and compositions were done in the great lakes of Africa region of Uganda, Congo (DRC), Tanzania as well as the island of Zanzibar.
Meshing impromptu in situ compositions with old dusty samples and his own field recordings is the go to modus operandi of Goncalo F Cardoso's various monikers (i.e. Gonzo, Papillon), creating deep layered 'exotic/alien' soundscapes of various moods and feels.
Here’s another series of surreal and augmented field recordings that try to brace the listener with fresh alien authenticity before toying very pointedly with antiquated constructs by mixing avant-garde dustbin synth music with concrete field recordings and humorous, tongue in cheek intersections - not to ‘ever’ be taken too seriously.
With a brand new art collage by US artist Evan Crankshaw.
Mastered and cut at Dubplates @ Mastering by Rashad Becker.
There are many ways for a band or an artist to compile an album: some make it in a week and some let the process go on longer. The latter approach does often mean that that the record will not be better than had it been recorded and mixed within a short amount of time, rather the contrary. However, there are those albums that just could not be made within in a week or a month, those compilation of songs that needed the time to melt together to form an album.
Fontäns third album titled “Fontän”, released on Höga Nord Rekords is that kind of an album. Put the opening track “Mangsebung” on, then stay with the record until the closer “Shadows” rings out and you will go clear, sharp, and mildly messed up by the listening experience because this is an extremely well directed trip in mind-altering music! This album needed time to reach such heights. The width of range in influences has become somewhat of a trademark for Fontän.
Magma, Pink Floyd, Bhutanese and Nordic folk music, Manuel Göttsching and Ashra, Robert Fripp and King Crimson, Steve Reich, Philip Glass, Talking Heads, DJ Shadow, Brian Eno, Boards of Canada, are some of the music that has made a mark on the psychedelic duo.
One of the main differences though between Fontän and other bands with a similar setup of names to drop is that many cannot transform those musical traditions into timeless and boundless songs like those in Fontäns catalogue. With Johan Melin’s and Jesper Jarold’s love for music and non-sentimental creative approach, this album proves that the band never gets hung up on trying to sound like the past masters, but to develop what they once started.
2017 will be the year when Fontän once again challenges the framework for genre bending music. “Fontän” captures the inspired and unafraid feeling from their releases in 2016 but is managed and even more refined on this album. This is Fontäns evolution.
Tracklisting: 1. Mangsebung 2. Greven 3. Meh-The 4. Bardo 5. Gangri 6. Nautilus 7. Sen Sen No Sen 8. Shadows
Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015’s In Situ - but with clear reference to 2012's sleeper-hit Quarantine - Dust is an album revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure.
Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there.
Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics. Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse; acoustic drums are warped into sensual, febrile melodies.
The lyrics are themselves bricolage, without a specific narrator or place in time. They slip in and out of view, something that is visualised in the album’s inner panel. Extending the influence, the album opener ‘Sun To Solar’ is an adaptation of 'Servidão de Passagem' by Brazilian concrete poet Haroldo de Campos. In line with the album’s sound, Dust is 'Laurel Halo' as a flexible cast of characters.
Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier.
Laurel’s omnivorous influences play out in mutated fashion - coalesced, unfettered and inclusive - a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017.
Tracklisting: Side A: 1.Sun to Solar 2.Jelly 3.Koinos 4.Arschkriecher 5.Moontalk 6.Nicht Ohne Risiko
Side B: 1.Who Won? 2.Like an L 3.Syzygy 4.Do U Ever Happen 5. Buh-bye