|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
IMPREC 383LP
|
Deluxe double LP pressed in an edition of 1000 copies, housed in a gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IMPREC 383CD
|
"Acid Mothers Temple's In Search of the Lost Divine Arc heads in a completely different direction from 2012's Son of a Bitches Brew. Harder, faster, and more riff-rock oriented, this record is here to slay. AMT skews their vibe between Zeppelin and Beefheart, coming out with another classic Acid Mothers ripper in the process. "
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IMPREC 380CD
|
"Gunter Schickert is a German musician born 25th April 1949. He learned to play trumpet in 1962, but taught himself guitar in 1967 and made that his main instrument. In 1971 he started playing free jazz, then in 1973 made his first solo echo-guitar sessions. In 1976 he formed the group GAM with Axel Struk and Michael Leske. There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. 'When I was recording Samtvogel in 1974 I had only two tape recorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a third tape recorder. And still added the last track to the master. I had a small mixer with two stereo and one mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.' Thanks to these three months of work, between June and September of 1974, Samtvogel was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -- titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock on Brain LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret -- however it must be pointed out that Schickert did not need any mind spreading substances to allow his sounds to float out of his mind and soul, they just came out in the most natural way. It will also appeal to fans of the echoed atmospheric guitar work of other krautrock innovators such as Ash Ra Temple, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's Tago Mago era."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IMPREC 372CD
|
"My Only Warm Coals neatly sums up a fifteen year span of Emil Amos' basement home-recording in nineteen songs. Using the four-track like a mirror in LSD therapy sessions, Amos disassembles himself and leaves the puddle on the floor for the listener to contemplate without easy resolution. The record also arcs a period of 'lo-fi' recording technique and sonic experimentation that has largely gone undocumented in the larger underground culture, while epitomizing a supremely alienated sound from a person who wouldn't set foot on a stage for most of these fifteen years."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IMPREC 381CD
|
"Sal Mineo is a Jamie Stewart/XIU XIU + Eugene S. Robinson/Oxbow production. Now sleep tight. Sitting at the crossroads between Oxbow's Eugene S. Robinson (lyrics/voice) and Xiu Xiu's Jamie Stewart (music), Sal Mineo is a pure/impure distillate of experimentalism based on 30 second to three minute long focused bursts of sonic crime, that plumbs the cooling depths of a pleasure cruised death trip. These two undisputed heavyweights of musical and emotional non-compromise, whose music leaves tender bruises by whatever sweet blow it is rendered, are ready to crack rooms in two with their high precision silencer of a duo show, combining the best and most free-roaming of both their artistic domains."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IMPREC 379LP
|
LP version pressed in an edition of 800.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IMPREC 379CD
|
"Gorgeous full length from Dutch lutenist Jozef Van Wissem. Wissem's long form, graceful melodic lute layers, preceded by suspenseful deep bass movements, create a transcendental and pastoral. Wissem's is a world where hypnotic minimalist figures are repeated to slow the act of listening. Nihil Obstat ('Nothing Hinders') is performed on Wissem's custom black lute built by Michael Schreiner. The CD version of Nihil Obstat includes an extended 11 minute version."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IMPREC 377LP
|
"Split release between Total Life and Deceh. Pressed in an edition of 500 copies and housed in screen printed, hand numbered jackets. Kevin Doria's work as Total Life precedes his work as half of Growing but continues to evolve. 'Fader' is no exception. Deceh's contribution is an extended harmonic magnification of a shruti box, Hammond organ, upright double bass and modular synthesizer."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IMPREC 367LP
|
"Beautiful new work from Lawrence English. Pressed in an edition of 500 copies. Lawrence English is composer, media artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English's work prompts questions of field, perception and memory. English utilizes a variety of approaches including live performance and installation to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IMPREC 375CD
|
"The Watchers is a historic collaboration between Lubomyr Melnyk and James Blackshaw. These new pieces are being released as a CD/LP with material exclusive to each format. LP is pressed in an edition of 500. 'I first met Lubomyr Melnyk at a festival called Hea Uus Heli in October 2008. We were both scheduled to play that day and I was very excited to see him perform. Before the show I bought several LPs from him and mentioned as much. Lubomyr (more than modest and courteous, as he always is) asked me what I was doing at the festival and I replied that I was also performing at the festival a little later, to which he responded "I'll come and watch you," before being ushered into the hall to play one of the most staggeringly sonorous and beautiful sets I've ever heard. It was overwhelming, full of pathos and I left the hall with those incredible overtones hanging in my ears for hours. A couple of hours later, I was onstage when I glanced up and saw Lubomyr, true to his word, stood in the audience watching me attentively. I felt incredibly nervous. It's not everyday you get to play for someone who has greatly inspired and influenced your own music. After the show, I packed up my guitar and came out to meet the crowd. The first person who greeted me was Lubomyr: friendly, full of enthusiasm and keen to hear about my music, my processes, the way in which I made music. Yet again, I was overwhelmed - for very different reasons. "You have invented continuous music for guitar!" We all met at the Vortex Jazz Cafe around midday. We set up, Lubomyr at the grand piano, me directly facing him with my 12-string guitar and began. I would retune at random between songs and together we would find interesting chord progressions, hints of melodies and ways in which to weave those immense overtones that Lubomyr is able to generate on the piano with those of my guitar. No more than two takes per song. Improvisation, spontaneous composition, whatever you want to call it. Either way, it truly felt as if the piano and guitar were as one -- inseparable, parts of a bigger whole, a means by which for two people to make one sound. It never felt forced and never less than engaging. Lubomyr was always humble, jovial and open to ideas. The whole session lasted six hours.'" -- James Blackshaw, October 2012.
|