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Search Result for Label SEDIMENTAL
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LP
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SED 060LP
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"Ten years, five records, and The Weird Weeds remain a band without a country. With songs too lopsided and winding to rock and tunes too overt for stuffier experimentalists, they happily occupy a territory all their own -- strange and singular, but not devoid of a knotty interior logic. After a career built on left turns, the band takes its boldest self-departure to date; appropriately, their first self-titled record feels the most alien and most self-assured. What once splintered now sprawls and pithiness blossoms into widescreen vision. The elements of the band's previous incarnations -- Aaron Russell's spiraling guitar arcs, Nick Hennies' nuanced drumming, Sandy Ewen's guitar squeaks and scrapes -- are now underpinned by a new rhythmic intensity, a loping, sun-beaten motorik replacing the skewed pop of previous releases. Across nine untitled instrumental tracks, songs freeze in loops that unwind under their own weight or gather into busy, flickering swarms. From the Alvin Lucier shimmer of the opening track to the stunning dovetailed rhythmic cells of the album's centerpiece to the twilight keening of its elegant coda, The Weird Weeds is an object lesson in purposeful repetition: songs expand into exploded diagrams that reveal new sonic and emotional contours with the slightest change in perspective."
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SED 059LP
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"Sedimental deviates from its carefully fostered experimental music identity to release the debut of this Austin based indie pop trio. Given the quality of the songs, the simplicity and clarity of the musicianship, and the pedigree of the musicians themselves it was a rather easy and natural decision, not to mention indulging our own personal, highly eclectic tastes in the process. With its hypnotic drumming, driving bass, boy/girl dream-pop vocals, and chiming arpeggiated guitars building to swirling blasts of distorted reverb, Transit of Venus is a woefully beautiful and darkly powerful sonic commentary on a modern world gone mad." Includes download card. Housed in a full-color gatefold sleeve that's truly worthy of finding it's way onto some kind of "album art of the year" list.
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CD
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SED 057CD
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$14.00
NOT IN STOCK, SPECIAL ORDER
"Wanke continues to amaze us with his sensitive, detailed and spacious soundworks. to r.s. follows up his lauded debut Caves on Sedimental with another stunner. For to r.s. Wanke uses electric and acoustic guitars, acoustic piano, objects and natural sounds. The 53 minutes of this unique piece divided in four parts combine static compositions, drones and looped music. Structurally viewed as a classical composition, the music takes shape with flat harmonic profiles and acoustic events that are layered and coupled together in elliptical and hypnotic loops and echoes. The piece is dedicated to and inspired by Robert Schumann's music. Born in Genova, Italy in 1977, established in Milan from 1982 until 2005, multi-instrumentalist and composer Ricardo Dillon Wanke lives and works in Lisbon. He has been working in the experimental music field since 2000 (long term collaborations with Giuseppe Ielasi, Stefano Pilia, Francesco Dillon, Renato Rinaldi, David Maranha, Manuel Mota, Rafael Toral among others). He is member of Medves group. He set up a trio with David Maranha and Manuel Mota, 'dru' and collaborated with Italian classical cellist Francesco Dillon with whom he co-founded 'Amuleto'-collective. His work with guitars, acoustic and keyboards (piano and rhodes) and sax has started from pure radical improvisation and has drawn to the investigation of drones sounds, static and looped music related to the minimalism."
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SED 058CD
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"Byron Westbrook has been performing Corridors live around the US and EU for the last four years, however this audio CD is the first physical release of the project and Sedimental is ecstatic to be releasing this very committed young artist's debut. Since 2004 Westbrook has been the technical coordinator for Phill Niblock's Experimental Intermedia Foundation. While assisting and collaborating with Niblock and other luminaries of experimental music, Westbrook began developing Corridors as a multi-channel performance system for live guitar feedback. Shortly after the completion of a month-long tour with Rhys Chatham's Essentialist, Westbrook began performing the project. Corridors has since evolved to encompass the improvised performances of other musicians, recordings of which are processed into phrases or texture units for playback from ipod or minidisc players through the multi-channel system. The results are sweeping and fluctuating textures that place distinct frequencies in different parts of a room, creating an intense opening and closing of space over time for the listener. The pieces were recorded in large spaces (churches, concert and university halls) using a mixture of binaural and mid/side microphone techniques, to allow for the most accurate imaging in a stereo field. The recording process spanned a three year period, during which many different performances of the works were documented. These recordings were carefully edited together, taking the most representative moments of each performance, to make this CD containing three frequently performed pieces. These pieces are loosely structured works, always performed in conjunction with single or multiple light projections. An element of improvisation exists within each performance in that every room is different and the sounds respond uniquely to different rooms. There is a beginning, middle and end that has been worked out, but where the sounds exist and for how long will change for each performance. Limited to 500 copies and housed in a custom oversized sleeve."
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SED 056CD
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$14.00
NOT IN STOCK, SPECIAL ORDER
"Linda Aubry Bullock's subtle emergence on to the Boston experimental music scene in 2002 was a smile inducing surprise for those of us who knew her solely as a visual artist. It was quickly apparent however, that this was no novelty as she excelled in a range of projects with her unyielding analog electronic contributions. After seeing Bullock perform many times over the years and then hearing the menacing piece 'Ray of Dark' on the Rare Frequency radio program in August of 2008, we were inspired to commission her to submit a full length's disc of material for a long overdue debut release. While LAB does fly solo, she truly thrives in collaborative settings, several with her partner, the composer Mike Bullock, who appears here with Twilight of the Century. What we love about her work is its directness and purity. Her electronics recall certain bleak atmospheres and sensibilities of many mid-80s post-industrial artists: menacing, pulsating, and droning. Her work is not overt or obvious though, instead inserting its way into your system like a deadly parasite or virus. The order of material on the disc was skillfully assembled to work as a whole in this way and we recommend listening to it rather loudly with the shades drawn."
artist statement: "'Twilight of the Century' is a collaboration between Century Plants (Eric Hardiman and Ray Hare) and rise set twilight (Linda Aubry Bullock and Michael T. Bullock). The first 4 tracks are our reaction pieces to this performance -- material taken from 'Twilight of the Century''s performance on July 31, 2008 in Albany, NY. The other two pieces on this album, while not directly involving 'TotC' are related to the time that the group was forming. I feel that A Specific Gravity is the shadow self of 'TotC.' It was recorded by Michael T.Bullock during a residency at STEIM in Amsterdam, NL in June 2009. If I drew a Venn Diagram, the center would contain The Story of Mike, the sets being friendship, family, and places. It was inspired by a recording of Seth Cluett and Jennifer Eberhart as they were conjecturing on the origins of MTB."
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SED 055CD
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$14.00
NOT IN STOCK, SPECIAL ORDER
"Alessandro Bosetti is a longtime friend and a musical colleague of many of our friends as well. We have followed Bosetti's creative development over the years and admire his challenging and often discomfort inducing works and live performances. Though we assumed that his sharing the recording of Zwolfzungen with us a few years back was just to keep us abreast of another of his unique projects( this one originally as a piece for German radio), it's power and musicality struck us as being his most realized work up that point and it was clear and without hesitation that we should make it tangible via the label. We feel it is a perfect synergy of Bosetti's deep interest in text based works combined with all of his broad and dexterous musical abilities. A subtle and understated masterpiece. We are also proud to once again be working with Shelter Bookworks(re: Area C) on the creation and design of the handmade cardstock sleeve. Their attention to the detail of materials and execution is unmatched. The inclusion and choice of the eerie and charming drawings of Erin Womack as the artwork for the panels help make this document more than the sum of its parts and something to behold."
Artist statement: " I like to listen to languages I don't understand. I like the moment when the understanding of words stops and every language starts to 'make noise'. All languages have a special sound, some more than others have particular acoustic characteristics that delight this musician's ears. For Zwolfzungen I colllected recordings of eleven languages I'm not, or partially, able to speak and understand. Eleven languages I encountered in my travels, whose sound I especially liked. Moreover, I invented a twelvth one, developed and learned during the past years and featured as a last instalment of the series. Zwolfzungen could be translated as twelve languages as well as twelve tongues. I try to 'misunderstand' each one of those languages as much as I can. They include, among others: Dogo, Basque, Urdu, Mandarin, Cherokee, Japanese and Zulu. For each language's recording I developed a specific piece of music, dis-engaging from the meaning of the words and instead concentrating on its sound and rhythm. The pieces are not intended as features or documentaries as I'm not inserting any explanatory aspect into their context. I used whatever compositional ideas and methods the source material inspired : tape collage, electro-acoustic processing, max/msp, low-fi sound devices and then performed them live, mixing my voice with pre-recorded and realtime electro- acoustic materials. Each piece is a unique musical universe and be may listened to individually or as a total group. Zwolfzungen was originally commisioned in 2005 as a radio art piece for DeutschlandRadio Kultur in Berlin and re-worked as a multi-channel live performance in 2007."
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2CD
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SED 054CD
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"In live collaboration with Black Forest/Black Sea, Eyes Like Saucers and Mudboy. Double full length CD release limited to 500 copies housed in a stunning and uniquely designed handmade, hand assembled letterpress cardstock sleeve by discerning artist Amy Borezo at her Shelter Bookworks studio in Western MA. We have been fans and have closely followed Providence's Area C project for several years. It was simply a matter of time before we would release something by this dynamic artist and these special recordings presented themselves as the obvious choice. Area C's work has always appealed in its ability to be at once hypnotically accessible balanced by subtle and brooding dark elements under the surface. It recalls both post-rock elements as well as the more experimental works of classic '70s German space rock groups. The live collaborations with the other Providence-based artists push Area C's distinctive sound in compelling directions. This document represents over two hours of carefully selected music taken from many evenings of performances."
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CD
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SED 023CD
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$13.00
NOT IN STOCK, SPECIAL ORDER
New edition of the first Stars of the Lid release. "This was Sedimental's first CD release back in 1994. Robert Overtz (Ultrasound) mentioned this guy Adam who was doing amazing 4-track stuff at home. I think the name of the tape he gave me was called Ombudsman. The success of this release was a nice surprise and certainly having Joel at Cargo champion it, who was just getting Kranky going as well, certainly put us both out there. Ultimately, SOTL ended up at Kranky and are still making amazing recordings for them. Many say this is still their favorite Lid release, although I am partial to the Ballested Orchestra, too. It certainly remains a powerful touchstone for and precursor to, the post-whatever independent music scene and still sounds incredibly solid and undated today. Though Stars founder Adam Wiltzie has admittedly distanced himself from the release in artistic terms, he felt it was time to revisit and refresh the work with a new mastering job, as well as having new artwork designed by long-time visual collaborator, Craig McCaffrey. Sedimental has always kept the document in print in its original form with a remarkably steady stream of sales, but we welcomed the opportunity to update the release and make it more widely available to a new generation, so to speak."
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CD
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SED 053CD
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$13.00
NOT IN STOCK, SPECIAL ORDER
"Novi_sad's work came to our attention via our good friend Susanna Bolle (Non-Event and Rare Frequency) in Boston. A superbly keen ear, Bolle felt that his work and our label should connect. Though Novi-sad has only a few years of practice behind him, the quality and maturity of all of his efforts is striking. The proposed Jailbirds material for Sedimental was totally complete and not only of the highest quality, but also of a truly unique vision. What is significant in his work is the multiplicity of its action on the listener. It is a density of sound, acting in three-dimensions, not as auditory 'sound effect' but as music with depth both physically and in functionality. Its intensity and purposefulness based in specific conceptual foundations and enhanced by a mastery (and transcendence) of technical means collapses amplified environmental recordings, drone manipulations, structured ambient soundscapes, microtones and overtones into a unified whole. Sedimental is truly excited to be an early anchor of this young composer and sound artist's serious oeuvre. Novi_sad (Thanasis Kaproulias, b. 1980) is a graduate student from the Economic University of Piraues. He lives and works in Athens, Greece, where he began generating sounds in 2005. His debut album Misguided Heart Pulses, A Hammer, She And The Clock received worldwide critical acclaim. Recently, Novi_sad did a recording session at the prestigious VPRO studios in Amsterdam, for the Dutch National Radio, which will be released by Staalplaat in the Mort Aux Vaches series. A recent piece called 'Dramazon' is available on TouchRadio from the publishing house Touch. He is currently working on a project based on various methods of audio analysis called 'Sirens' in which he explores the aesthetics of information on sound by using quantitative data from major stock market crashes in history."
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7"
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SED 7002EP
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"Proposed for Sedimental as a 'glorious masquerade' by Boston-based Bhob Rainey (BSC, Nmperign, and infinite collaborative scenarios) with the opportunity to also release solo work by Western MA's Chris Cooper (Fat Worm Of Error, XO4, Buddies, BSC, etc.) in his Angst Hase Pfeffer Nase guise proved too devastating a proposition to avoid. So we did not avoid it. Here we have a circular 'cover' project, or a 'which came first,' a 'who is who' conundrum. Those who know the respective artists work well enough should be able to suss the jig, and despite a label-less disc, there are other ways. So, what do we have here, musically? Densely-collaged musique concrète-ism edited at a rather brisk pace, essentially. What matters, besides each artist's specific musical means, is both the sensitivity and the breadth the artists bring to the project. Concise. Humorous. Kick-ass. Classic. Do we really need to discuss Rainey's 'importance' on things experimental at this point? I hope not. Chris Cooper, on the other hand, does deserve a bit more elucidation. Though well enough known through the circles in the above-mentioned projects, it seems that his particular genius through the discipline of his guitar work is still not wholly understood. He possesses notable music knowledge as well as theoretical approaches that are generally not employed in the lo-fi, experimental noise and punk worlds in which he operates. His contribution to this artifact is yet another important piece of evidence that continues to build an airtight case for his necessary-ness."
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