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You Can Can is an echoed affirmation, an album which traces song forms around silence, field recordings, and degraded analog memories. This is folk music transmogrified and mutated, as if recorded and reconstructed in Pierre Schaffer’s GRM studio.
Not your typical Mariposa folk duo, the group is comprised of Toronto avant-music scene stalwarts, vocalist Felicity Williams (Bernice, Bahamas) and bricolage artist and synthesist Andrew Zukerman (Fleshtone Aura, Badge Epoch). The album feels like a somnambulant conversation, fragmented and half-remembered with Williams’ vocals traveling through a landscape of field recordings and Zukerman’s saturated concrète topographies. It is an electro-acoustic assemblage, both analog and digital, comprised of air, electricity, minerals, wood, and water. Although the album nods towards traditional forms of folk and musique concrète (if at this point it can be called a traditional form), it is outwardly and inwardly contemporary; non-linear, citational, opaque, and sui generis. In a way it feels like a sonic index of the narrative experiments found on the infamous Language school-related publisher The Figures, in the work of Lyn Hejinian, Clark Coolidge, and Lydia Davis. In the musical continuum, the album picks up where Linda Perhacs left off in the early 70’s—explored by Gastr Del Sol in the ‘90s—a convergence of rural acoustic idioms and urban avant-electronics. This is country music for the discerning cosmopolitan citizen of the 21st Century.
RIYL: Luc Ferrari, Brannten Schnüre, William Basinski, Oval, Eric Chenaux, Emmanuelle Parrenin About Everything In Time and Failure Figures, Felicity Williams says:
Everything In Time is indebted to the language of Brazilian author Clarice Lispector (as translated by Alison Entrekin). Drawing on insights from psychoanalysis, we trace the roots of melancholy to render them available to consciousness; words from the ghostly realm of the transpersonal filter through dreams and shine a beam of light onto a lone trillium in a forest at night. Other influences include the experience of not knowing, of being subject to a gestation outside of one’s control. This is an ode to the power of naming to obliterate, to set free.
Failure Figures is a meditation on the radical contingency of reality and the vicissitudes of the will. With Slavoj Zizek as my guide (think: “Hegel for dummies” - I’m the dummy in this scenario), I wander through the valley of the shadow of death, and take heart. The last verse refers to an experience I had recording at a studio in Brussels. I was singing in French, with which I have some fluency, and the producer was complaining to the artist whose song it was that my delivery was not convincing. Thinking I was out of ear shot, he said in French, “c’est comme elle n'est pas là”; I was pronouncing the words correctly, but I failed to express anything. So what or whom is responsible for conveying meaning, if not the form of the word itself? And if the connection between meaning and form is broken, how do we fix it?
Gratitude to Thom Gill (guitar) and Daniel Fortin (bass) who joined us on the recording of Failure Figures. Thanks as well to my old roommate Christopher Willes, who unwittingly left behind his hand bells deep in the hall closet. We unearthed them by accident, and the bells became an important sound element. Thanks to other past roomies Robin Dann and Claire Harvie, whose childhood piano and guitar respectively still reside with us, and were used in the recording. Field recordings were made in Toronto, Canada and Celestún, Mexico in 2020.
- A1: Fragments (Extraits)
- A2: Park Güell
- A3: Disque Raye?
- A4: Valse De L'aiguille Creuse
- A5 4: Rroses Pour Marie
- A6: La Catedral D'escuradents
- A7: Your Labios As Tulips
- A8: Souvenirs De Vernet Les Bains
- B1: Arthur Cravan Was A Flor Fina
- B2: The Skatalan Logicofobism
- B3: Sardana Dels Desemparats
- B4: A Glass Of Gaz
- B5: Les Places De Gra?Cia (1)
- B6: Les Places De Gra?Cia (2)
- B7: Patafisiskal Polska
- C1: I Put A Barbara Steele On You
- C2: Chanson De Charme Pour Faux-Nez
- C3: The Lollobrigidada Fox-Trot
- C4: Third Eye Of A Cubist Guitar
- C5: Le Fakir De La Chapelle
- C6: On Se L'hegel En Enfer
- C7: Un Train Direct Pour Charenton
- C8: Love Too Soon
- D1: L'argot Du Bruit
- D4: Back To Schizo
- E1: To Be Dammit Ornette To Be
- E2: The Blank Invasion Of Schizofonics Bikinis
- E3: Sardana Dels Desemparats
- E4: Sense El Resso? Del Dring
- E5: Contre Le Style
- E6: A Figueres
- F1: The Hallucinogenic Espontex Sinfonia
- F2: La Societat Del Piano-Obstacle
- F3: Ge?Ge?Ne
- F4: Petite Escena Nocturna
- F5: A Farrutx
- F6: Le Soir Du Grand Soir
- F7: Souviens-Toi De Ces Douces Soire?Es
- G1: Stranger In Paradigm
- G2: La Vedette Del Molino
- G3: Jopo De Pojo Not Dead
- G4: The Indian Of The Group
- G5: Il Luna-Park Galactico
- G6: Don't Touch My Blue Oyster Shoes
- G7: Sans Les Mains ! (Zappambarretina)
- H1: El Misteri Del Triangle Del Vermut
- H2: Two Maniaco-Depressive Beatnicks Squabbling Over A Jane Russell Mozzarela's Bikini
- H3: Vals Burlesco
- H4: Flan Sin Nata Inzenight
- H5: Despintura (A) Fo?Nica
- D2: To The Last Of Imaginary Solutions
- H6: Europe Change Bad
- I1: El Bolero Del Raval
- I2: O Dancing Del Gran Fumisme
- I3: Hydropathes Marchant Sur Les Os
- I4: Spinoza Was A Soul Garagist
- I5: El Pianista Del Antifaz (Born In Candolle)
- I6: Portrait De L'artiste Avec Des Lunettes Pour Voir Les Femmes À Poil
- I7: La Bella Dorita
- J1: Deviationist Muzak
- J2: Dancing Le Mômo
- J3: Roll Over Fuzmanchu
- J4: Stigmates De La Ligne Crade
- J5: Evaporisme Sonor
- J6: L'horizon Perdu Du Cornet À Gidouille
- J7: La Filosofia Del Plat Combinat
- K1: Coucher De Soleil Sur L'adriatique
- K2: Unicazzz
- K3: Des Rails En Mou De Veau
- K4: E?Le?Vation De Marie-Madeleine
- K5: No Sympathy For Symphony
- K6: Sardana Meca?Nica
- K7: Ha Passat Un Angel
- L1: Skin Saxo Derivato
- L2: Apparition Du Visage De Bela Lugosi Sur Une Tranche De Salami
- L3: Musique Hypertrophique Des Remontoirs
- L4: Cimetie?Re De La Photographie
- D3: Toti Al Soler
- L5: Alzina Muntanera
his ultimate 6LP Boxset presents the works of Pascal Comelade from 1984 to 2024 and his 40 years producing instrumental music. Each vinyl has been thought as an album in itself , with its own identity, that could be listened as it is. According to the artist, "Improperies- compositions et enregistrements magnétiques (1984-2024)" is a music puzzle which doesn't obey to any rule with the exception of Pascal Comelade's creation and art thoughts that kept moving over the years.
Limited numbered to 500 copies - 6 x Black Vinyl in spineless sleeve, heawyweight cardboard slipcase/custod numbered at the back, includes an insert-photo signed by the artist. The boxset artwork is an original creation by Miquel Barceló.
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Nachpresssung 2021 als Audiophile Black Vinyl! Doppel-LP auf schwarzem 180gr Vinyl. "Aufheben" oder "Aufhebung" ist ein deutsches Wort mit einigen scheinbar gegensätzlichen Bedeutungen. Über das bloße Aufheben eines Gegenstandes oder das Aufheben einer Regelung hinaus benutzt Hegel den Begriff, um zu erklären, was passiert, wenn These auf Antithese trifft. Als neues Album von THE BRIAN JONESTOWN MASSACRE wurde ,Aufheben" im Studio von Anton Newcombe in Berlin und in der berühmt-berüchtigten DDR-Radiostation ,Studio East" aufgenommen. Mit dabei: Matt Hollywood als Originalmitglied der Band. Außerdem versammeln sich hier Will Carruthers (SPACEMEN 3 , SPRITUALIZED) , Constatine Karlis (DIMMER) und Thibault Pesenti (ROCKCANDYS); zum Gesang trägt Eliza Karmasalo (auf Finnisch!) bei. Hier trifft sich der traditionelle Sound des BRIAN JONESTOWN MASSACRE mit vermischten östlichen Einflüssen und bringt die gesamte Verrücktheit mit, die man in den letzten 40 Jahren entdeckt hat. Das BRIAN JONESTOWN MASSACRE hat sich über die Jahre hinweg zu einer musikalischen Kommune für respektierte Musiker entwickelt und brachte seit den 90er Jahren große Bands hervor: BLACK REBEL MOTORCYCLE CLUB, THE WARLOCKS, THE SILVER ROCKETS, THE BLACK ANGELS, THE RAVEONETTES und THE DILETTANTES (um nur ein paar zu nennen) sprießen aus dem musikalischen Stammbaum des BRIAN JONESTOWN MASSACRES. Die Konstante: Frontmann Anton Alfred Newcombe.
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Remastered vinyl reissues of the two essential albums by Turkish folk singer Tülay German, starting with the self-titled release (1980) and followed by "Hommage to Nazım Hikmet" (1982) in early 2022.
Referring heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) these two albums represent unique and modern interpretations of turkish folk songs unmatched to this day. A matured artist with full conviction at the height of her powers!
Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record "Burçak Tarlası" (1964) is now considered the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice.
But due to the increasing repression Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In fact, an impending prison sentence for Erdem Buri for translating Hegel's "Dialectic and Science of Logic" and
Plekhanov's "Fundamental Problems of Marxism" led the couple to emigrate to France.
In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn't feel quite comfortable with this major deal. And thus, despite the success and recognition she had
gained, she decides to quit the contract with Philips!
Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths
in her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly
by Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and
justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.
The self-titled debut, which was awarded with the prestigious "Grand Prix du Disque" of Académie Charles Cros in 1981, is now seeing a vinyl reissue after 40 years.
Tülay German ended her musical career in 1987 and after the death of Erdem Buri in 1993 she retired from public life completely, leading a quiet life in Paris where she still lives to this day. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.
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