Recorded live at Camp Blood, 10/05/05.
Limited to 180 copies. Includes insert.
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Recorded live at Camp Blood, 10/05/05.
Limited to 180 copies. Includes insert.
Mastered by Timothy Stollenwerk
Stereophonic Mastering, Portland, OR
Album Art by Juli Toro
Pacific City Sound Visions presents a new project by Finnish artist Jan Anderzen ( KEMIALLISET YSTÄVÄT ) and Spencer Clark of The Skaters and Monopoly Child Star Searchers.
“Alien Wildlife Estate” is a kulmination of both artists recording Pacific City Studios and finnishing
off the compositions in a “YOUR MY FAVORITE ALIEN penpal flare! The music is engaged as a Fruitopian
vision of a rescattering of all elements within an International Airport to be presented as Audio exhibit!
With songtitles like”DEEP OCEAN IBEX ARENA” and LI SHEN SU’S PEACOCK MANTIS SHRIMP REPERTOIRES”
one can glare the “Up-To-The-Minute”synthetic textures as they coalesce with the impressionistic voices
and sound effects of the Symbiotic relationship of thee Modern Airport with that of an Earth Alien ZOOLOGICAL
GARDEN. Don’t hesitate to venture the links below for two audio examples of these rather
wild textual explanations…
With No Becoming, we hear Lee Noble as he began to curtail his droning stretches into more song-based, pop-infused, atmospheric measures. His sound possessed a beautiful, bedroom-base quality, with casio beats driving the rhythm while chord organs and guitars fuse to create an undeniably emotional score. Seeing Lee’s early works is like pulling open that bedroom door and discovering a man building his craft, watching how he coaxes the sounds and textures from his instruments.
We’ve seen Lee Noble take on new platforms and dominate new plateaus as he’s progressed as an artist, but through No Becoming we can see his work has never been devoid of that powerful, sentimental atmosphere. That’s what makes Lee the artist he is, vulnerable and invincible, with his own sound, emerging from a pool of influences and peers.
With No Becoming, we witness the man shaping and controlling his sounds, coming upon new lands, fields of resonance, filtering ideas, bending, molding, working. A beautiful album of early work, a pulling back of the curtain.
Recorded July 2008.
Mastered at Infrasonic Mastering, 2008.
Edition of 500 copies on 180 gram vinyl. Packaged in a color jacket with obi strip and poster.
Pedro Magina is a Barcelona based synth player originally from Portugal, where he was active in several projects, eventually forming Aquaparque with friend and collaborator André Abel — Abel was active throughout the early 2000s and his other duo, Tropa Macaca, had their last outing via Software Recordings in 2012. Magina’s solo music is far-sighted, tending toward abstract soundscapes and adventurous digression. This work felt very at home on labels like Not Not Fun, Ruralfaune, and Mental Groove. His new album, ’11,’ has a different focus and a little more heft thanks to its origins, recorded while his family moved from Lisbon to Barcelona and he shared a rehearsal space with Tropa Macaca, Gala Drop, and Panda Bear.
’11’ is Magina’s fourth solo album and his first to make heavier use of vocals, following on several years of exclusively instrumental excursions; experimental synth work with a New Age tinge. If you drop into the album at random, you’ll hear an understated synth-pop album with a distinctly Portuguese, even Iberian, flavor — but there’s a sweep and shared focus to these tracks that sounds wholly new. ’11’ is about involvement, though the tilt in that direction may contrast with older releases that were exciting for their imaginative sense of detachment. For Magina, the scale here is a reflection of his status as a young father, in between realities, and as an artist with choices.
The same sense of whimsy and diverse production that animates his older releases still draws the listener in, but there’s no simple roving between topics, and few straight lines between up and down. For much of ’11,’ emotions hang on the voice; “Hold My Hand Now” is confident and breezy until Pedro’s voice draws it upward into one of the album’s most memorable crescendos, while a distressed vocal sample and somber keys in “Ponta Do Sol” make the track feel almost scary, or at least discomfiting. Others balance the new vocal element against Pedro’s keys, like “Valentina” or “On Our Way Back Home,” where synth and voice share a trajectory.
Under the moniker Event Cloak and as part of the duo Sundrips, Montreal’s Nick Maturo has been a heavy purveyor of avant-garde synthesizer music since 2010. Life Strategies is his first LP release and a major step for the artist, with an emphasis on sparse arrangements of digital electronics and chopped vocal samples. Each track unfolds with total clarity, utilizing the minimum amount of elements necessary to highlight their melodic, harmonic, and textural themes. The result is an overwhelming lightness, like a calm exhilaration, or the aural equivalent of a hidden sun-drenched room of bright whites and soothing grey tones
In a much more playful vein then previous ISAM releases, I’m excited to present the Celestrial Stairway LP.
Recorded by Sam Jones for the Inspired School of Astral Music and beautifully mastered by Timothy Stollenwerk at Stereophonic Mastering, this is a very different direction for ISAM. Along the same lines of the Dreams and Ambitions cassette, the 5 compositions that make up this recording were recorded live with no overdubs and represent a more lively, melodic and full stereo sound. Ascend the Celestrial Stairway.
4 Color Screen Printed Covers
Comes with Celestrial Stairway Liner Notes
Limited to 220 Copies
Psychic Sounds Release Number 8
Motion Sickness of Time Travel’s Rachel Evans proper follow-up to 2010’s acclaimed Seeping Through The Veil Of The Unconscious. Over the course of numerous limited releases, Evans has showcased a natural ability to construct floating sound worlds that immerse the listener in an aural cocoon. With Luminaries & Synastry, she’s ready to unleash a whole different kind of voodoo. Recorded through the latter part of 2010, these songs are darker and more condensed, with Evans’ voice sitting even more prominently in the mix. Her synth work is effortless and mesmerizing, adding the perfect accompaniment to those vocals which are, as ever, the star of the show. On the opening “Luminaries,” rhythmically hypnotic synth chords provide a gaseous backbone while Evans pierces the darkness with her voice. It’s a perfect foreshadowing for what’s to follow on the rest of the album, and “Synastry” follows and unfurls in a minimal and haunted fashion, reveling in its simplicity, finding a perfect balance between grounded effervescence and astral projection. Skeletal rhythms and sunburned arpeggios return on album centerpiece “Day Glow,” dripping in miserable beauty — the song makes vague kosmische nods and paints a thick coat of sublime whimsy to fill in the cracks. When it reaches its peak — it’s just absolutely devastating. Heading toward the finish line, bombarded by gorgeous, revolving synthesizer passages on “Eight Nineteen” and the blissed-out “The Walls Were Dripping Stars,” it’s clear that Luminaries & Synastry offers something special in the ever-expanding discography of one of the year’s finest new voices. Artwork by Hobo Cult’s Frank Ouellette. The audio has been re-mastered and cut to vinyl at Dubplates and Mastering, Berlin. On pink vinyl. The included CD contains the entire album, plus two bonus tracks not on vinyl.
First vinyl issue of what might be termed Youngs’ 6th album, recorded in 2001, and originally released on CD by Jagjaguwar. In his constantly spiraling oeuvre, “May” most stylistically resembles Richard’s much-loved album “Sapphie”, being 6 songs of guitar and vocals in his most heartfelt and personal mode. As always with Richard, only the sparest materials are used; the guitar is based on simple, evocative melodic passages and resonances, the lyrics composed of a hallucinatory tapestry of recurring phrases, images and sounds which weave the mind in shifting patterns, and play with the listener’s sense of memory in a profoundly psychedelic and moving way. In the manner of the finest free folk of the modern era, the combination of traditional forms and instruments, avant-garde or free technique, and homemade or lo-fi aesthetics is utterly unintellectual. What we have rather, is human, with instrument and mind, whispering into the dew of the English bloom, in the time-honored manner of Shirley Collins and Martin Carthy, bound only to the sweetness at the heart of the song in a way we dig here at Humito.
Recorded Christmas 2000, Easter 2001 and last day of May 2001 in Harpenden, England. All songs, performances and recordings by Richard Youngs