Ok, hold on tight. Finally here comes the up to now final Magic Moments Album back in print. The remastered CD version will be published on August 24th (Congrats) on Marc Bell’s (not the guy from LFO but the original Engineer back in time) TMR Records, in true independent spirit it is also available as free download already but hey what is a dl when you can get hold of some unfashionable physical relict to support the talented and the brave ?
Some in depth info’s and small talk from M.M.A.T.T. can be found directly over at MickMagicNet and besides there is a special fb group & event for this…
If this is not enough yet there is also the Klappstuhl ‘Best Of Tapes’ remastered Compilation which is kept in print / in digital all the time.
UPDATE September :
The new CD Edition is available per e-mail order now for only 5 £ – full details and contact here:
“The album is totally free for download in HD Audio & MP3. CD version only £5 inc: P&P (with free CD for initial copies!). Payable in Sterling (£). Full details & to order: mail me @ email@example.com”
>Yes, it’s that time of the year again where somehow things start working out………
To good to be lost here is a release by a legend of the tape-scene, the multi productive
from France who seems never to rest on his laurels if you take a look at his bandcamp page(s). ‘Sample 4’ was originally issued via Cold Spring in the late 80’s as Cassette in an edition of only 35 copies. The new cover shot is b.t.w. by Mr. Andy Falconer, a talented musician in his own right, nowadays living in Germany and splitting his time between photography and electronic sounds.
Basically a collection of two earlier (limited and now deleted) releases by one of my very favourite sonic freestyle artists. Hard to categorize as most of my cherished publications but fully worthwile exploring on repeated listenings. Some more details here.
Besides looking back
is never short of looking forward and Inselkind Schallträger issued a new beautiful 180g LP ‘Red Square‘ in May where the diversity of his talents really shine – instrumentals, songs (!), freestyle, structures – you can find all there in one flow showing that Kallabris leaves nearly every musical boarder behind on his way. I’ve got no info which quantitiy was pressed but to avoid disappointment act fast.
In case it’s hard to find ask your friendly drone hq.
On a related note: It’s great to see
(whose ‘Carceri‘ is still available @ Klappstuhl) furthermore active with a new release continuing the mere ambient Grafio Series on the Italien Asbestos Digit label from Rome;
Asbestos Digital 25
Besides his own releases and his work at O.F.F. Studio, Torino Marco even found time for a mix for NOODS Radio which can be listened online here:
With that album title they can’t do wrong…..
Following their successful european live concerts from last year Barker / Marsh / Andrews & ??? put out another self released gem, most likely available exclusively from shriekback online and now already on PRE-ORDER.
Official release date : May 25th.
Here is the first new track :
So after repeated listenings all I can say there is rely on the Shrieks in whatever constellation besides one sour point in their History when they went ‘Bang’. Postpunkmonk even reviewed the Album track by track.
The Album is available in digital form now via the usual outlets (Deezer, Napster, KKBox etc and Itunes) too, the blog is updated to offer the digital only buyer the lyrics & credits. And here is a new Video from one of my favourite tracks:
Both the above are curated collections of material recently unearthed or in circulation before but not in the sound quality it deserved by the 2017 founded Coil Live Archive. While the main focus of Kiefer Gorena and Phil Barrington obviously concentrates on documenting and researching the Coil performance recordings any serious attempt to improve the incredible legacy is more then welcome.
In 2016 Phil Barrington already went through the remarkable process of re-creating the announced but never finished Coil Project and presented a possible version with ultimate care in sound and design also for free via archive.org.
It’s still questionable if Coil’s main body of work will ever be republished and made available for civil prices due to the many parties involved now in the estates of Peter and Jon (read an well-penned artile by PB here) and more than often only bootlegers seem to make profit out of their legacy since years.
A few exceptions of this where the Brainwashed related Treshhold Archive series which sadly came to an halt, Danny Hyde licensing ‘Backwards’ in it’s original form to Cold Spring, Drew McDowell re-issuing Time Machines or labels with an valid contract opted to reissue the albums, tracks and bits that where licensed to them (Important, Prescription, Sub Rosa, Optimo).
Last November I had to learn that Dietmar Gallhammer, whom I first knew as driving force behind the swiss anarcho-hc-experimental band Jaywalker had died in Autumn 2012. We’ve been in touch briefly during the late 80’s and early 90’s resulting in an interview and an concert in my then home-town. On Klappstuhl I issued one of their tapes – live recordings from 1988 – on which I stumbled last Autumn again.
I needed a break from the heady electronic & experimental stuff I’ve been listening for some time continously and started to assemble the various bits and pieces, including the final tape he sent me as Jaywalker Recordings with permission to use it as it fits.
Over time parts of it appeared on various Compilations but never completely. So instead of simply reissuing the live tape for the digital age I’ve decided to remaster all the material and compile an Archive Release in the spirit of anarchistic DIY attitude as Free Download release with artwork based on DD’s original prints and dedicate this release to him.
When Jaywalker fell apart Dominique Mollet appeared as member of Dwarfish while DD founded another hc trio; Religious Overdose shortly after with Ivo Pärt & Thomas Peter, resulting in the album ‘Flatus Flow Rate’ in 1996. His more experimental leanings where sat on the back seat with this but not for long. In fact he got simultanously involved in Destroy After Use with Frankie Buchholz and Martin S. Past with whom he kept performing over the years on guitar and videoprojection. See some excerpts here on his utube channel.
Besides his musical musings he kept an interest in graphics and invested his time besides parenthood in a multi-media workshop for mentally handicaped people and founded a time-trade (trade of abilities and time instead of payment) platform in his home area Aargau.
Some of his graphical experiments with HDR photography can currently be viewed via his Flickr account.
A final glimpse showing the direction his musical path was going in 2012 is this otherwise unreleased solo track:
Boyd Rice spread the word on Dec. 17th, 2017; the mighty Z’EV is gone.
66 years is perhaps not the shortest lifespan and no one get’s out alive but it left me speechless for quite some time. The shock waves are increasing.
If one person was the anti-figurehead of Industrial culture it was him. Nice and handsome in person, incredible consequent and forward in his works. I’ve only met him once, approaching him after a performance in 2005 slightly embarrassed to out me as a ‘fan’ but I could not resist to let him know how much his attitude and concepts meant to me.
After studies at CalArts he moved to the bay area where he adopted the artist name Z’EV in late 1979 and developed his unique percussive style with found and used objectsformed from industrial materials such as stainless steel, titanium, and PVC plastics f.e..
“The foundation of my work, regardless of genre, is Process combining the Dadaist / Duchampian notion of Found / Finding, the Cut Up of Brion Gysin, and Cagian indeterminacy” says Z’EV in his own words.
In late 1980 he opened up for BAUHAUS on their british / european dates. His influence on Test Dept., Einstürzende Neubauten and others can only be guessed today.
Z’EV lived more than 10 years in Amsterdam, and guested there as Teacher at the Theater School for New Dance Development besides pursuing his projects. While performing was his main way of reaching people he released plenty of audio works, solo and quite a lot collaborative efforts (with Chris Watson, KK Null, Merzbow, Genesis P. Orridge, Larsen, Hati and Organum to name only a few) and published several writings.
Most famous is ‘Rhythmajik‘ on Rhythm and Magic obviously, first published by Temple Press in 1992 as book, later distributed freely as PDF via his site. Examples of his audio visual works sculptures, videos etc. can be found also. Some more music was self-published or reissued via bandcamp.
Back to the original fb posting, I feel there’s not too much one can add to these words:
“I would say that Z’EV was to the avant garde what Iggy Pop was to rock and roll: total intensity, energy and raw power and he often left the stage in the early eighties cut up and bleeding from the injuries he received from his own instruments. ………… a man I thought was one of the most under appreciated figures in modern music. A linguist, an ethnomusicologist, a scholar, a mystic; but a man who could distill all this into a performance so intense that it could captivate an audience in a punk rock venue. That was his unique gift. He was one of the most talented people I have ever met. And there has never been any performer akin to him.”
[Boyd Rice / NON]