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Search Result for Label EDITIONS MEGO
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2LP
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EMEGO 172LP
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Gatefold double LP version. COH is the moniker used by Ivan Pavlov from Russia for more than a decade. COH is also the Russian word for "sleep." Yet, do not be deceived -- RETRO-2038 is much more of a deep space than a deep sleep. The second COH release on Editions Mego is a true delight to behold, inviting as it does its exploration of electronic sound in minimalism, futuristic pop and the uncharted territories in-between. Ranging from digital updates of Giorgio Moroder's pulse experiments to menacing, lingering LF tones, with occasionally scattered outbursts of jovial noise and glimpses of tonal interstellar disco, RETRO-2038 precisely engraves each of its components with a melodic line and a rhythmical pattern, often beatless. The album as a whole is a work of profound playfulness, at once whimsical and deeply seductive. It opens a crisp crystalline cosmos of its own, rich with unknown objects dancing through ominous orbital auras and smooth gravitational fields. Like a cyber-organic spacecraft moving through dark matter, RETRO-2038 looks back with a warmth as it heads towards its future with abiding optimism. After all, the future can't wait. Artwork by Tina Frank.
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EMEGO 174LP
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In its history throughout millennia it is fair to say the Gamelan has never had an encounter quite like this. Marriage of Metals is a devastating extension of the harmonic properties found in the instruments of Indonesia. Daniel Menche was granted access to a remarkable Gamelan studio where he was given full privilege to record any and all of these rare and ancient gongs -- most notably, the gigantic "Gong Ageng," that contains the deepest of deep acoustic bass. Menche took the raw source material from this Gamelan gong session and launched into a heavily-processed yet surprisingly sympathetic 21st century take on this unique instrument. Marriage of Metals comprises two side-long works where the purity of the sound source exists amongst the entire din. Metallic rhythms bounce alongside synthetic pops swaying from reality to fantasy, from pure acoustic tonality to fuzzed-out distorted clatter. A distant feedback squall is teased amongst the foreground, creating a clamorous din. Equal parts curious, engaging, and groundbreaking. Menche, like Philip Corner before him, extends the language of the Gamelan into brave new worlds. Out of the extensive discography of Daniel Menche, Marriage of Metals stands out as his most elegant and graceful recording, yet still staying within the grit and grime of his sonic garden. This recording would not exist without the generosity of The Venerable Showers Of Beauty Gamelan ensemble, located at Lewis and Clark College, Portland, Oregon.
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EMEGO 167CD
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A Life Is Everywhere is an ecstatic mix of rhythm, noise, drone, texture, and melody. Simultaneously heartfelt and not for the faint-hearted. Within their self-contained world, Cindytalk continue the unique trajectory that has purveyed their career starting in 1982. This installment further explores the fearsome terrain that was initiated with previous Editions Mego releases such as The Crackle of My Soul and Hold Everything Dear. Throughout the six tracks on offer, the standard fair of music is run through serious level processes leaving, taking rhythm and sound to extreme limits while always retaining trace elements of their core. Ringing bells are interrupted by artifacts from shredded sound-matter, euphoric chords are swamped by chopped rhythms which succumb to an endless storm of electronic bliss. Utopia has never been so bold. The unique positioning of Cindytalk's output over a 30+ year period is a testament to the will to explore, unfettered by trend, taste and desire. This is unadulterated expression, a future music for those willing to confront the future as a viable option.
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EMEGO 167LP
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LP version. A Life Is Everywhere is an ecstatic mix of rhythm, noise, drone, texture, and melody. Simultaneously heartfelt and not for the faint-hearted. Within their self-contained world, Cindytalk continue the unique trajectory that has purveyed their career starting in 1982. This installment further explores the fearsome terrain that was initiated with previous Editions Mego releases such as The Crackle of My Soul and Hold Everything Dear. Throughout the six tracks on offer, the standard fair of music is run through serious level processes leaving, taking rhythm and sound to extreme limits while always retaining trace elements of their core. Ringing bells are interrupted by artifacts from shredded sound-matter, euphoric chords are swamped by chopped rhythms which succumb to an endless storm of electronic bliss. Utopia has never been so bold. The unique positioning of Cindytalk's output over a 30+ year period is a testament to the will to explore, unfettered by trend, taste and desire. This is unadulterated expression, a future music for those willing to confront the future as a viable option.
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EMEGO 164LP
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Ever since Stephen Sharp and Roc Jiménez de Cisneros embarked on the deconstructive process they refer to as "Rave Synthesis," the goal was to come up with odd relatives of well-established sounds in techno culture by constantly messing with the original recipes, expanding the tropes, and hinting at novel paths for contemporary psychedelia. Almost three years after the influential Rave Slime, Evol's fifth album takes the idea one step further. The content of Proper Headshrinker was first presented in public as part of the group exhibition "Recurrence, Repetition, Hypnosis and Ritual," curated by Paul Purgas at Färgfabriken, Stockholm, 6/12/12-1/13/13. In the show, right next to the speakers playing these tracks, the sentence "Like a balloon producing balloons, producing balloons" was printed on the wall in Pantone 805 fluorescent red, the same color used on the cover of the album. As it turns out, the title of the exhibition almost feels like the perfect tagline for Proper Headshrinker. The ten tracks on the album are unlikely techno anthems, stripped-down hoovers, and deformed super-saws driven by extremely simple cyclic patterns. Ten pieces of identical length that focus on continuity, neighborhood, and iteration, but also on sameness, insideness and outsideness. Sharp and Jiménez de Cisneros have used key words such as "slime," "stretching," "sonic Play- Doh," "squeezing" or "folding" to illustrate the notion of homeomorphism (a metaphor borrowed from topology) in relation to the structural developments and the way in which tone bends in their rave synthesis tracks. On Proper Headshrinker, though, this continuous deformation is much more oblique, since the only source of variation in these monolithic structures comes from subtle phase modulations. The resulting straightforward brutality demands deep listening and, as usual, proper playback volume. Mastered by Russell Haswell in Suffolk. Cut by Rashad Becker at Dubplates & Mastering, Berlin.
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EMEGO 169LP
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Ensemble Skalectrik is a side-project of Nick "Ekoplekz" Edwards. Previous emissions include the self-released psycho-geographical abstraction of Snuff Mill Tapes and a homage to Maurizio Bianchi via Feral Tapes. Focusing entirely on spontaneous composition and one-take improvisation, Ensemble Skalectrik represents the most raw, extreme performance-based electronic music in Edwards' repertoire. On Trainwrekz, Edwards has dusted-off his turntables, grabbed a stack of old vinyl (mainly sound effects and easy listening albums), added a selection of sound-shaping devices (filters, equalizers, loop-pedals) and proceeded to record a series of delirious, derailed sonic sketches that sound like nothing else in his rapidly expanding discography. Ranging from the portentous pile-up of "Wrekwahn," the oppressive atmospherics of "Wrekfore" and the serene ornithological drift of "Wreksikz," these half-dozen pieces document the emergence of a highly personalized form of turntablism that incorporates elements of chance, drone, dub, hauntology, musique concrète and free improvisation. Performed and recorded in three sessions during the month of November, 2012. Additional production and mix January 2013. Active participants: Alesis Nano Compressor, BASF Chrome cassette (x2), Belcat Delay, Chance, Danelectro "Reel Echo," Ekdahl "Moisturizer," Electrix "EQ Killer," Electro-Harmonix "The Worm," Muza FD900 "M Ambience," Nick Edwards, Rocktek 6 Band EQ, Stanton STR8-30 direct drive turntable (x2), Yamaha MT3X cassette multi-track and a selection of vinyl LP records.
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EMEGO 166LP
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A new set by the coolest chap in New York City, documenting the development process of a solo electric guitar piece that Alan Licht has been playing out for the last four years. Revered for his work in the Blue Humans and Text Of Light, and a key figure in the pantheon of experimental solo guitar players born in the late '60s such Jim O'Rourke and Oren Ambarchi, Four Years Older is his debut Editions Mego release, representing another peak in a career of mining the rich seams of minimalism, noise and avant-garde in general that stretches back more than two decades. As it says on the box, side A was recorded four years later than the side B (and vice versa). Four Years Older sees a move away from the loop-based pieces of recent releases. On Four Years Later in particular the guitar's fingerboard is actually touched more than on any other solo piece of the last 10 years, although the guitar is pushed to sound more like a suitcase synth, a church organ, a hornet's nest, and a malfunctioning PlayStation than a guitar per se. As Alan points out: "Four Years Earlier was the debut of the piece; it was in three sections, the latter two of which appear here. The first section was identical to the first section of Four Years Later. I scrapped the second two parts after a couple of subsequent performances and developed it into a six-part piece, and then a seven-part piece in this studio version. In concert the piece lasts at least 30 minutes, I've shortened it on Four Years Later with an eye towards top 40 radio play." The initial "Four Years Earlier" session is a blistering electronic nail storm that would not feel out of place on one of Russell Haswell's legendary Live Salvage sets. "Four Years Later" is equally relentless but lets in some light with an ecstatic mid-section that ascends toward the spiritual. At the end of the day, the final result is music which is both corrosive and lyrical, a feeling which is reflected in Stephen O'Malley's eye-melting artwork.
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CD
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EMEGO 162CD
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You'll Be Safe Forever marks the first release from Locust in 12 years. Mark Van Hoen, who made a string of influential releases as Locust on R&S records in the 1990s, all but retired the alias at the end of that decade. In May 2012, Van Hoen was invited to perform a live set on WFMU radio. In order to make the set more spontaneous and add a further dimension, he asked friend and fellow musician Louis Sherman to collaborate. While improvising new material in Sherman's Brooklyn rehearsal studio, it swiftly became obvious that the material sounded like Locust. Inspired by joint explorations with found sound sources and ambient textures, and sharing a pan-dimensional immersion in the length and breadth of analog and digital recording, the duo performed a series of tracks live. This material, combined with previously-recorded tape tracks dating back to 2006 form the bulk of the album. The melancholic depths of electronic music explored in those improvisations, expanded further through subsequent sessions at Van Hoen's Woodstock, NY studio, have resulted in this latest entry in Locust's impressive discography. The record showcases prime examples of Van Hoen's compulsively hypnotic beats and abstracted pop vocals -- already hallmarks of his collected work since 1993 -- manipulating a global variety of samples in Celemony's Melodyne software to weave a unique sonic tapestry, as inviting as it is intricate. Paired with Sherman's evocative synth improvisations -- an immediately visceral element new to Locust -- these collaborators have crafted a shattered landscape that bridges two perspectives of progressive movement in electronic music under a single name. Sherman, an American from Baltimore, comes to the band armed with a vast knowledge of the history of electronic music. This, combined with Londoner Mark Van Hoen's known musical pedigree, maps the complete topography of a landscape -- its shadow and light, depth and height, mesmerizing complexity and ethereal simplicity -- with a break-beating heart and alchemical ear.
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LP
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EMEGO 162LP
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LP version. You'll Be Safe Forever marks the first release from Locust in 12 years. Mark Van Hoen, who made a string of influential releases as Locust on R&S records in the 1990s, all but retired the alias at the end of that decade. In May 2012, Van Hoen was invited to perform a live set on WFMU radio. In order to make the set more spontaneous and add a further dimension, he asked friend and fellow musician Louis Sherman to collaborate. While improvising new material in Sherman's Brooklyn rehearsal studio, it swiftly became obvious that the material sounded like Locust. Inspired by joint explorations with found sound sources and ambient textures, and sharing a pan-dimensional immersion in the length and breadth of analog and digital recording, the duo performed a series of tracks live. This material, combined with previously-recorded tape tracks dating back to 2006 form the bulk of the album. The melancholic depths of electronic music explored in those improvisations, expanded further through subsequent sessions at Van Hoen's Woodstock, NY studio, have resulted in this latest entry in Locust's impressive discography. The record showcases prime examples of Van Hoen's compulsively hypnotic beats and abstracted pop vocals -- already hallmarks of his collected work since 1993 -- manipulating a global variety of samples in Celemony's Melodyne software to weave a unique sonic tapestry, as inviting as it is intricate. Paired with Sherman's evocative synth improvisations -- an immediately visceral element new to Locust -- these collaborators have crafted a shattered landscape that bridges two perspectives of progressive movement in electronic music under a single name. Sherman, an American from Baltimore, comes to the band armed with a vast knowledge of the history of electronic music. This, combined with Londoner Mark Van Hoen's known musical pedigree, maps the complete topography of a landscape -- its shadow and light, depth and height, mesmerizing complexity and ethereal simplicity -- with a break-beating heart and alchemical ear.
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EMEGO 160CD
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There has been a recent surge in activity from Robert Hampson, with all manner of solo recordings and performances popping up. It's only logical that he reactivates his beloved Main project. As we all know, Main laid the foundations during the 1990s for much of the love of abstract guitar treatments in electronic music throughout the 2000s. Hampson has teamed up with Stephan Mathieu to create a stunning new album. On Ablation, Mathieu adds extra tonal color and an obscure rhythmic palette to Hampson's exacting treatments and detailed use of layered concrète sounds to create an emotionally-charged and fascinating work. Old fans of Main will not be disappointed, and neither will new followers of experimental audio. Packaged with images by Grebo Gray with layout by Dave Coppenhall, and expertly mastered and cut by Rashad Becker, Ablation is a highlight for the spring 2013 season. Robert Hampson (analogue electronics, concrète sounds, guitar, piano-treatments) and Stephan Mathieu (Farfisa VIP 233, e-bowed phonoharp, radio, percussion-treatment).
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