Lavascar is a sound and music project by creative instigator and provocateur Michèle Lamy, multi-disciplinary artist Nico Vascellari and Lamy's daughter, the artist Scarlett Rouge.
Following the release of their debut album A Dream Deferred in 2017 - which was inspired by Langston Hughes' poem Montage Of A Dream Deferred, the trio will release new album Garden Of Memory through The Vinyl Factory label.
Drawing on the work of Lebanese-American poet, journalist and artist Etel Adnan, Garden Of Memory explores the tension between the organic and industrial, layering both Rouge and Lamy's idiosyncratic delivery over Vascellari's ambient and EBM-influenced electronics. After Vascellari described the debut LP as 'an evocation of Michèle Lamy sitting in a cave, surrounded by wild beasts ready to devour her', Lamy says the new record has loftier concerns: 'So far it seems like we are more in the cosmos... We are coming out of the hole!' Lamy continues: 'I like poetry, I don't like when there is sentence that tells you everything, I like suggestion.' It was for this reason that Lamy was drawn to the 93-year-old Adnan - 'a woman explaining what's going on in life. We can say everything is political, this is especially important.' It's a sentiment that Scarlett Rouge echoes: 'She wrote political poetry, and she is a journalist, so that's why I think when Michèle discovered her there was an immediate sense that this is now what needs to be felt and said.'
Koehler was hurled headlong flaming from the ethereal sky. This is his first offering for the ESP Institute. Side A recalls the hazy memory of an ear-worm chant heard over a decade ago on the streets of Thailand, a melody that since haunted the artist and has finally been exorcised by his own hand in the shape of 'Melencolia V'. Somewhere between an enchanted bashment and a sailor's watering hole, Koehler found a gargantuan kick drum that lands solely on the 4, slammed it together with a wide pulsing bassline and brutalized Dancehall snare, then laced it all up with his elusive synth melody. Add to this a generous sprinkle of finely-ground cosmic dust and we're all tripping the light fantastic. On the flip side, the artist buckles up for a rough and rapid-paced journey with 'Invidiosa' — a relentless snare scrapes, gouges and corrodes over 7 minutes, coupling with a simplistic bass loop and swiftly marauding through a demented assembly line, accumulating various nuts and bolts of instrumentation along the way — an undeniable dancefloor exciter for those hours when the club becomes unhinged, dancing becomes raving, and slightly more audacious folk can channel their inner truth. These two songs will have you question your existence.
Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead... Equal parts tuff, tail-thrashing dancehall pressure - see 'Hell Dub' - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, 'Vertigo'. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn't pay much mind to tradition, just does his own thing. Yes, Devil's Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep - but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism... Devil's Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy's delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate...and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album's intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil... and then chase, chase, chase him out of the earth
London based ANII returns home to KOMPAKT following a breakthrough year. Since the release of her KORZENIE EP (KOM 380) then releases on AEON AUDIO and POLYMATH she continues to bring a unique and highly emotive take on techno and house music to a sound that has become more and more mundane over recent times. She's back with ANIITIME - a diverse, three track EP that starts with RIDE THE TIGER. It made us squeal with glee when we first heard it. Is this an inadvertent tribute to the Warp classic, SWEET EXORCIST or just some jungle voodoo magic Listen to it for yourself! The title track sees her going deep into her emotional treasure chest to produce a violin meets acid (it works - we swear!) techno incarnation. Her third offering is the solid, house riddled GALAXIANII. Move over Boney M - ANII is our new captain who takes us on her latest night flight to...
Mark Leckey Ist Ein Mit Dem Turner Prize Ausgezeichneter Visueller Künstler, Inspiriert Durch Die Britische Post-punk- Und Rave-szene. "exorcism Of The Bridge@eastham Rake" Ist Der Soundtrack Seiner Ausstellung "affect Bridge Age Regression" (2017), Entstanden Aus Der Bruchhaften Erinnerung Und Mythologisierung Einer Autobahnbrücke An Der M53 In Der Nähe Von Birkenhead, Wo Er Seine Kindheit Verbrachte. Das Stück Klingt Für Ihn Wie Ein Moderner Ritueller Chant, Der Zusätzlich Von Evian Christ Für Den Dancefloor Präpariert Wird Und In Einer Streng Limitierten 10" Auflage Im Chicen Gatefold Mit Bedruckter Innentasche, Poster Und Download-code Bei Warp Erscheint.
Well renowned bass player extraordinaire, Osynlige Mann (URAN GBG, The Exorcist) from Gothenburg releases long awaited new solo material On Hoga Nord Rekords. This 7inch contains high voltage material; 'Airports' and 'Exodus' brings tense seventies synth and early eighties electro to the table.
The A-side 'Airports' is a Kraftwerk inspired elegy over the lumpenproletariat of the machines - aeroplanes. 'No sleep for the big machines, no rest for the sad machines'. The B-side, 'Exodus' carries more obvious characteristics from Osynlige Manns other projects and sounds like a more electronic version of URAN GBG!
Man and machine can live in peace. But a machine never forgets..
DFA release Crooked Man's new album, 'Crooked House'.
Speaking about the album's lead track, 'Take It All Away',
Crooked Man says: 'It's about not being suffocated under the
mountains of useless crap that Mammon shits into every
crevice of modern life... quite possibly the world's only anti
consumerist disco song.'
The elusive Crooked Man returns to DFA with 'Crooked House'
LP, a maximalist take on electronic and house music that picks
up where 2016's self-titled album left off. Teaming up again
with Michael Somerset Ward (Clock DVA) and David Lewin
(Bleep & Booster) in the studio, Richard Barratt crafts a
comprehensive journey of hi-fi house belters with more sinister
electro-pop mixed in for good measure.
The album is influenced by two historic epicentres of electronic
music: Sheffield UK, where Richard has had an illustrious
career in a mix of legendary groups like Funky Worm, Sweet
Exorcist and The All Seeing I; and the NYC Loft-era disco
sound, where extended grooves were layered with peaktime
choruses.
Richard's diverse collaborations and intensely prolific
discography have now led him to records as lush and
sophisticated as 'Crooked House'. Considering the rarity of a
live Crooked Man performance or DJ set, it's a testament to his
hyper-creativity that these tracks are able to reach new heights
in a club setting. With support from disco historian Bill Brewster
and NTS resident Ross Allen, it's clear that 'Crooked House'
brings a timeless vitality to the current landscape of dance
music and continues an exciting new chapter in Crooked Man's
career.
LP format includes digital download code.
David Holmes was drawn to DIE HEXEN by their 'magical sensibility that has both shades of dark and light, which is something that always appeals to me in music'. After featuring in his edition of the famed Late Night Tales compilation with a take on the original suicide song 'Gloomy Sunday', DIE HEXEN returns to expand upon their dark ambient journey towards transcendence with an eagerly awaited debut album.
DIE HEXEN's genre eschewing synth driven compositions draw inspiration from the disturbing beauty of Hieronymus Bosch's artwork and several brushes with death, evoking a spirit who traverses realms of the underworld to bring forth knowledge of an Ancient past and in doing so, to reveal the not so distant future.
The Garden of Unearthly Delights transports the listener through strange visions of darkness, beauty, creation, destruction, death & rebirth. An exorcism of body, gender, tribe towards a place of ultimate transcendence.
Somewhat of a polymath, DIE HEXEN has already shown their prowess with live performances part music/part performance art spectacle, as an avant-garde filmmaker and as an award-winning multi-instrumentalist, sound designer and film scorer.
DIE HEXEN's divergent interests from Japanese Butoh theatre to Wiccanism, Shamanism, celestial mysticism and time travel informs their method, as they explain themself; 'The compositions I write are not written, at least not by me. They appear to me as audio/visual hallucinations. I can hear, visualise, and feel the whole composition before me. My hands know instinctively what notes to play and like a stream of consciousness, voices emerge. Having suffered severe head trauma that resulted in a heightening of the senses, the theme of death is an increasingly present theme in my work. With this, my perception of death and what is beyond changes as I contort between this world and the next physically and mentally, musically and visually. Working with music or film, my vision is one. The calling to express these auditory hallucinations is inevitable'.
Perhaps CPU's deepest foray into techno, Osaka-based artist Yuri Urano's 'Autline' E.P. draws parallels with the machine-like incremental builds of Sweet Exorcist / Richard H Kirk.
Plenty of variation with minimal down-tempo through to fierce industrial techno.
Urano's industrial sound is gaining a lot of attention in the Japanese techno scene and this E.P. will only galvanise her reputation.
Greenvision is the collaborative brainchild of two ESP Institute artists, Juan Ramos and Luca Trentini AKA Trent, both longtime fixtures of Berlin's infamous playground known as Cocktail d'Amore. Separately, these two explore their own very personal avenues of expression, putting their time in the trenches and endlessly polishing their works (this makes Juan's third release with the label), but when their efforts overlap we're gifted a view into their uncanny synergy. Juan and Trent channel an exorbitant amount of smoke-fueled creativity, building layers upon layers into music so dense that the bulk of their studio time might then be spent navigating and formalizing their output into tangible tracks. Greenvison's collective debut with the ESP Institute showcases three intense cerebral workouts, Banana Paradiso, Rambutan and The Color Of Maracuja, an array of experiments pulling from all the corners of the duo's imagination—it is disorienting, cacophonous, introverted and psychedelic, but at the same time playful, melodic, euphoric and undoubtably arresting—guaranteed to induce hallucinations under proper circumstances. We welcome the induction of Greenvision to the ESP Institute, and with us as your guide, we welcome you to accompany on our descent into their abyss. Try not to get lost.
This is a dubstep Tool. But as usually on double pack there's a lot of « try no goal » here you got a real cool stuff with no waste. Strom you friends : Listen & add this to you deck !
Pure DDR-groove! The Exorcist is a gothenburg-based trio consisting of Osynlige Mann, Pontus and Petrus - members from bands as Uran, Tentakel and ultra Satan.
Hoga Nord invites you to their soundscape with their full length debut album The Exorcist GBG: Everyone could be an informant. The cold war is alive. Dark Cabaret. Spy-theme-mode. David Lynch-electro. Italian horror. Easily put - This is kinky organic acid-funk for all of you looking for a gateway - but know you have to stay.
Temperatures are dropping and we're all feeling the effects. Bordello A Parigi is letting the cold winds of the north swirl inside its doors with Russia's Volta Cab bringing a fresh 2LP to the table. A spread of influences come together for the eleven tracks of Rise Again. Take 'Emerald's Phantasy', a piece built on layers of percussion that blends elements of disco with notes of techno. 'Dark Room' is a different affair. Arctic chords are cut with electro and distant vocals for an unsettling treat. 'Kruger' stomps to a terse beat before lush pads bloom in a work that builds to dizzying peaks. Warm blasts balance these colder moments, the rich grooves of 'Savage Fury', the floor filling funk of 'Board Scandinavia' and the removed romance of 'Sweet Exorcist' all show another shade to the Volta Cab sound and of course there's more. Rise Again is an audio collection of vibrant colours and hues, tracks pitch from icy blues to autumnal ambers and fiery reds; a musical kaleidoscope that stretches across a spectrum of styles.
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A lot of bands are trying what The Exorcist are doing, to make timeless, mind bending, dance music but they often fail in reaching all the way. The Exorcist is the band that seem to exist in a dimension, much like ours but that lacks time as we know it; time is stretchable backwards and forward, and being in this dimension allows you to travel while, still staying in one place. Call it time travel if you will or moving outside of time rather. The Exorcist does this. Also they reach our dimension.
The members who also can be found in Uran, Tentakel, and Sork among others, formed The Exorcist in 2012 and started by playing illegal techno clubs for the true undercurrent citizens of Gothenburg, Sweden. The reputation of this dangerous psychedelic band, who plays funk the way funk should be played soon reached Stockholm where they got a cult following just by word of mouth. Over the past four years their following has grown exponentially!
The recording of 'II' was a trip into the abyss and back, with a lot of time and money spent, outrage from the members and record label executives biting their nails down to the bone. But that is how The Exorcist works - tension is a vital part of this bands nature, hence it's sound. The tracks' aggressive approach and the feeling of being possessed by something evil lurking inside of you mirrors the process of making this album. But listening to the album back to back and hearing how the songs intertwine, lets the true face of The Exorcist shine brightly over you.
'II', released on Hoga Nord Rekords is dimension expanding and time dissolving music.
Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.
'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):
- 4 PAGE NME FEATURE
- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'
8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'
*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'
8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').
Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.
Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!
When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.
The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.
Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."
And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip
Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.
Crooked Man is Richard Barratt from Sheffield, better known as Parrot. He was first off the blocks playing house music in Sheffield back in the 80s, had a top 10 hit in '88 as part of Funky Worm, collaborated with Richard H Kirk on the seminal Sweet Exorcist releases on Warp and had another top 10 hit in the 90s as part of The All Seeing I.
Retiring from DJing, a few years ago he started putting out 12" singles as Crooked Man. Song-based and devoid of house music vocal clichés, often epically long, always full of character, endlessly hypnotic and with razor sharp production they would always cut through in every DJ set they were played in. Twitch was an instant evangelist of the Crooked Man sound and is delighted to now present his debut Optimo Trax 12" EP.
Vocals on A1 and A2 by Rachel. Vocals on AA1 by Pete Simpson.
The EP's exorbitant success and it's makers constantly evolving sound brings their relationship into late summer 2011 as Cadenza announce their sixty seventh cut; the 'I Ching' solo EP from Felipe Venegas. The two track EP triggers with "I Ching" and its spell binding intro of thundering gong crashes and jangling bells, betraying an almost story like theme as sporadic tom's and intense brass melodies converse with one another intensely.
