|
|
viewing 1 To 13 of 13 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
BED 010LP
|
What are the best non-physical landfills for discarded thought? Do waves transition between naturally occurring substrates and audio signals? Does adrenal fatigue and replenishment in the human brain relate to cycles of euphoria and dysphoria in music? What is the mental effect of visual versus aural repetition? Is all music fictional? Can the language of objects and memories impregnate sound? Are bodies out of fashion? What is the music production equivalent to a green screen in film? What is the best non-physical preservation method for sound? Is film editing a way of ordering memories? Is repetition therapeutic? Are all films fictional? Have physical forms slipped into obsolescence? Did Erik Satie have an anxiety disorder? Is background music parasympathetic? Are physical players more virtuosic than virtual instruments? Is thought finite? Is physical music a fetish? Is reality fictional? What is the most elegant way to float between corporeal and ethereal forms? Do memories deteriorate and fade like audio signals exposed to the elements? Can thought exist without the body? Full color outer sleeve with printed inner sleeve; limited edition.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BED 008LP
|
A series of songs written and destroyed . . . Self-cannibalized productions spit back out in abnormal silhouettes . . . The originals shredded apart into discreet motifs . . . Miniature rhythmic patterns, collections of melodic runs . . . Selected moments of recordings from Maxwell Sterling (double bass) and Peter Evans (trumpet) introduced as "probiotics" . . . Freeform ideas set to feed off of the original productions like bacterial organisms . . . Creating new "growths" . . . Mutating and congealing into foreign forms. Translucent red vinyl; full color outer sleeve and printed inner sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BED 004LP
|
John Roberts, Travel Almanac co-founder presents his third album Plum on Brunette Editions. Recorded between New York, Los Angeles, and Berlin over a period of two years. Tyler Pope of LCD Soundsystem contributes to "Gum". Comes with a full color outer sleeve with printed inner sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
BED 002EP
|
New single from John Roberts album Plum on limited edition clear 7" flexi disc.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BED 000EP
|
Two MPC 2000 works from 20 semi-opaque purple floppy disks. Brunette Editions is a publishing outlet created by John Roberts as an abstract platform for audio recordings, printed matter, and ephemera. The label showcases interdisciplinary work unbound by genre and medium created under the direct or indirect influence of music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DIAL 066EP
|
After his wonderful eclectic Fences (DIAL 028CD/LP) album in 2013, John Roberts is back with a brand-new club single on Dial Records. Here again, the sound design benefits from the acoustic research and experiments Roberts has worked on for years. With the A-side's "Ausio," he creates an enchanting floor-smasher -- highly recommended by the angelic crowd of favorite clubs Panorama Bar and Robert Johnson. On the B-side you will find the classic John Roberts sound: two soulful groovers -- unique and timeless.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
DIAL 028LP
|
Gatefold double LP version.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DIAL 028CD
|
After the unanimous global acclaim of Glass Eights (DIAL 022CD/LP), John Roberts returns with Fences, his second full-length offering on Dial Records. From elegantly-dusted chamber pop and semi-psychedelic acoustic musings to turgid orchestral dancefloor fillers, Roberts creates a beautifully collaged symphony of recorded violins, cellos, cracked guitars, detuned pianos, faded samples, broken drum machines and manipulated answering machine cassettes. Fences is informed by the effects of travel on the brain: produced over the span of a year in various countries, it is in large part a recollection of what the mind chooses to imprint upon itself, and what physical sensations are dragged to the surface during a re-examination of those particular experiences. It is a deeply personal recorded exercise in free association resulting in a sort of sedated fever-dream: plucked and bowed strings reverberate densely through thick air against weighted Persian rugs, while the voices of white-lacquered synthesizers cry out along the marble tiles of empty palace corridors; yellowed nylon guitar strings are rhythmically pounded against microphones between the mirrored walls of a hotel bathroom, their distorted signals captured and warmed on VHS cassettes before being ejected and thrown into the brackish water of a worn bathtub. Gathered and dried off, these aural relics are patched together into a delicate piecemeal -- patent leather next to cashmere next to plastic next to lace -- with visible seams but impeccable stitch-work. With Fences, genres are either disregarded completely or shredded and re-sculpted into unfamiliar amalgamations. Pop songs are gutted and disemboweled before eventually being given a new skin of collaged features stretched tightly across their frames; the tired bones of dance music are stamped and shattered into shards, melted and re-pressed into pleasurable moments of introspection spotted with outbursts of anthemic extroversion. Roberts chooses to focus here on the unpredictable nature of the mind, weaving recalled experience with minor works of fiction. This is music from the forgotten film scores of discarded laser discs; the sound of memories re-quilted into slabs and thin-sliced into patterns which, when played back, conjure visions of the past and materialize impossible moments of déjà vu for instances of the future not yet experienced.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DIAL 064EP
|
John Roberts is back with a wonderful journey into sound design, sample research and contemporary club music. The Paper Frames EP contains a mixture of acoustic instruments, deepest bass levels and extraordinary rhythm structures. According to John Roberts, club music should be way more open-minded and surprising. For those who are on the search for an advanced approach to electronic music, this one is top-notch.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
DIAL 022LP
|
2012 repress; gatefold 2LP version. This is the highly-anticipated debut album from American electronic artist John Roberts. With its contemplative instrumental weave, Glass Eights asks broader cultural questions about the psychological function of music. Echoes of influence can be found in The Smiths' self-deprecating charm of the tragic, the muted, off-key eroticism of Bonnie "Prince" Billy, and the introverted house music of early '80s Chicago.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DIAL 022CD
|
This is the highly-anticipated debut album from American electronic artist John Roberts. Glass Eights debuts a sound impeccably curated and delicately enigmatic. With its contemplative instrumental weave, this album asks broader cultural questions about the psychological function of music as it blurs distinctions between sublimation and expression, escape and confrontation, medication and symptom, repression and reserve. The electric and grand piano, organ, violin, modular synthesizers and eclectic percussion split, shatter and reform, disclosing an aesthetic sensibility which delicately reflects on the eerie stillness of a grey day, the repetition of a single note on a detuned upright piano, a deflated balloon, the white of a funeral arrangement, exhibiting a kind of discrete, perverse hopefulness. Complicating melancholy, the emptiness of a mechanized loop serves to reveal a particular humaneness, caused by a percussive rapping, shattering into slow-motion, or an off-keyed drunken note of a piano begins to sound strangely in tune, finding itself transmuted into something more obscure, potent, and hard-hitting. Rendering awkwardness enigmatic and anxiety beautiful, effectively, Roberts' questions if there is not something more natural, more human, in the hesitation of a clap that rings a moment too late. The album's interior reserve heightens the potency of its immaculate transitions, which harness a primal sense of rhythm and, at times, the utter impossibility of standing still. Echoes of influence can be found in The Smiths' self-deprecating charm of the tragic, the muted, off-key eroticism of Bonnie "Prince" Billy, introverted house music of early '80s Chicago undermining its own progression, falling apart and collecting itself into darker psychological territory. The album nods to the production of mainstream rap and R&B, cultural and ethnic appropriations/dialogues between early European and American electronic music and modern anxiety, acknowledging both the productive and problematic nature of technological innovation. Glass Eights does not just generate a new auditory experience but builds an ornate frame through which to view the intricate psychological undertones in music of the past, and more importantly, constructs an anomaly that sounds a lot like the future.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DIAL 046EP
|
Inspired by '80s Chicago ghetto-house and European house and techno, John Roberts creates music that is meticulous and loose, evocative and innovative. With the drive to recreate the energy and experimentation of the mix tapes and records from his past, John began working with analog synthesizers, antiquated sequencing software, and reel-to-reel tape recorders at The Art Institute of Chicago. Now based in Berlin, he spends most of his time continuing to perfect the production of his rhythmically challenging, melancholic tracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DIAL 042EP
|
A new star shines bright over the Dial deephouse dancefloor: John Roberts. His music is meticulous and loose, evocative and innovative and it will move the heavenly dancefloor at the same time. As John Roberts moved from NYC to Berlin in 2008, he already performed his incredible live set at the Golden Pudel Club and Panorama Bar to showcase his forthcoming releases on Circus Company, Feel Music and Dial Records. A-w-e-s-o-m-e!
|
viewing 1 To 13 of 13 items
|
|