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viewing 1 To 7 of 7 items
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BURO 006CD
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Tijuana Mon Amour Broadcasting Inc. are Matthias Macht (drums), Heiko Schramm (bass), Thomas Heil (turntables, sampler) and Matthias Petzold (keyboards, guitar, vocals), and this is their fourth album. Based in Dresden, Germany, and deeply rooted in a love for instrumental, post-rock driven sound, the band successfully integrates electronic sound design, samples, turntable scratches and experiments into their sound, making their music a melting pot of styles and genres, attracting fans from pop, indie, jazz, dance, even classical camps. Cold Jubilee (Of The Snowqueen) marks a turning point in the band's history, adding lyrics to their instrumental kingdom. Heavily influenced by film scores and by the aspiration to merge sound and images, the members of the band always have images in their heads when writing and recording music. Cold Jubilee... takes you on an emotional rollercoaster which has yet to be built. The open-hearted, piano-based "88" combines the simplicity of Wim Mertens' melodies with a jazz drummer's early morning lullaby, "On Top Of The Mountain" hits you with a hypnotic bassline from Chicago with irritating yet assuring vocal samples, while tracks like "Day After," "Time Now" or "Dead Bill" are at the center of the "new" Tijuana Mon Amour Broadcasting Inc., showcasing Petzold's vocals on top of the finest tracks the band has ever written. Cold Jubilee (Of The Snowqueen) is the perfect companion for times when time does not matter.
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BURO 006LP
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BURO 005CD
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This is the first solo album by Berlin-based guitarist and composer Takeshi Nishimoto. Monologue was recorded in a one-day session in a church in Berlin, the natural acoustics providing a perfect ground for Takeshi's compositions. The guitar-playing represents what every artist should strive for through the recording process; the subtle combination of innocent meanderings and musical dexterity. In doing so he proves that the actual talent for composing is far more important than the relentless studies of those viewed as sacred artists. Full of creased melodies and charming adjuncts, Takeshi Nishimoto seems to take genuine pleasure in allowing compositions to unfurl with a languid grace that stands in stark juxtaposition to the urban agitation in which most of us live. Opening through a piece entitled "Morning 4am," Nishimoto's Japanese heritage is immediately apparent with a poignant composition that evokes mist-draped mountains, Koto mysticism and the swell of optimism that dawn ultimately brings. Immediately following this water-color prologue is the buoyant acoustic guitar of "Rider," wherein the hushed soft-shoe dancing of traditional flamenco or slow-motion grace of ice-skaters is brought to mind through delicate guitar, which retains its polemic despite an outward fragility. Blossoming from a chiming guitar that eschews any notion of hushed reverence, "Miles And Thousands" is nonetheless a pithy distillation of what it means for music to be haunting -- instinctively bringing to mind a tranquil and inviting landscape that demands your exploration, before the brief vignette of "Looking Up The Sky" snags the attention amongst its undulating tones. "Voice 1 -- Slow Door" coats an abstract heart with a sparing gloss of plucked strings to startling effect, while "Interweave" bucks your expectations as a Brazilian flavor is introduced through Takeshi's pin-point executed tremolo. Takeshi's inherent talents and sensibilities have allowed him to assemble a repertoire of twelve compositions that are both spellbinding and surprisingly complex, with harmonic chord inventions that impress immediately without cluttering the ears.
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BURO 004CD
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This is the second full-length release from Germany's Fonoda. With their debut album Blinker:Farben, Fonoda plundered their collection for influences -- pulling in threads from the likes of Slint, Mogwai and Low, then weaving it into an evocative tapestry that was both melancholic and beautifully optimistic. Reduced from a four piece into a trio, the revised line up of Florian Dölzer (drums), Matthias Neuefeind (guitar) and Christian Unerti (bass) now release Eventually, calling upon drum tracks recorded in 2003 as the bedrock for inspiration. Presumably named to acknowledge the extended period between catalog numbers, Eventually sees Fonoda rediscovering their love of vocals; drafting in the likes of Squares On Both Sides to bolster their own larynx excursions. Sticking to sun-blushed songs which characterized their past output, Eventually opens with "A Spiral Ant" wherein an opaque plume of chiming guitars and breathy vocals coalesce to form a slow-motion composition that has a shoegaze heart and post-rock head. Scattered throughout with samples and encroaching drones, Eventually is brimming with creative flourishes (electronic creases here, some modulated percussion there) all of which compliment the whole without attempting to detract from the overall vision. Having collaborated with Zimmer in 2004, Fonoda have brought him in on a number of tracks for production duties, lending Eventually a chopped-up atmosphere that revels in its expansive soundscapes. The shimmering cowl of "Not Dead, Just Sleeping (They Are)" and "Silence Means Disease" recalls the likes of Sigur Rós or Mogwai crossed with Slowdive, the latter track allowing some tender vocals just enough room to breathe between the bombastic choruses. "Stone Cold Seconds" employs a waterlogged beat, whilst album closer "Last Folder" is a towering epic that gives Mogwai a run for their post-rock money. About time.
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BURO 004LP
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BURO 003CD
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Having made music since the late '50s, Karl Berger is undoubtedly the veteran of the Conjoint gang -- bringing his consummate vibraphone skills which were honed through years working alongside the likes of Don Cherry, Ornette Coleman, Lee Konitz, Bill Laswell and George Clinton. A key figure in the avant-garde jazz scene, Berger's fluid musical style is perfectly counter-pointed by the electronic machinations of Jamie Hodge -- a Chicago-born digital manipulator whose first release back in 1994 on Richie Hawtin's Plus8 label became an instant classic and has since put out material for countless labels. Backing these two up is guitarist Gunther Ruit Kraus, a well-respected jazz musician from Heidelberg, Germany, and David Moufang -- otherwise known as Move D -- whose Source recordings was the initial catalyst behind the Conjoint project. A full-on techno luminary, Move D's work for Source, Warp and Fax have become key documents in the history of electronic music, while his collaborative credentials have also been established through projects such as Reagenz (with Jonah Sharp aka Spacetime Continuum), Deep Space Network (with Jonas Grossmann) and Studio Pankow alongside Jamie Hodge and Kai Kroker. Their third album as Conjoint, A Few Empty Chairs follows on from their previous release, wherein comparisons to the likes of Miles Davis were common . Very much a sum of its considerable parts, A Few Empty Chairs eschews a simple collaborative venture that signposts the various protagonist's individual contributions in favor of a cohesive and highly-evolved collection of music that defies easy categorization. Recorded live (but featuring no intrusive crowd noise), A Few Empty Chairs opens through the creased electronics and chiming acoustics of "Blue & White," where a deep jazz schematic is given bite through nervously rendered percussion. From here, the title track is a tensely-realized coalition of spiraling piano and heart-stopping rhythms, "Loopholes In My Lawn" is a soapy spray of cavernous atmospherics, whilst "Ruit Silvermoon" is the kind of track which will give the avant-garde a good name. Initial copies come w/ free a bonus 2nd disc, which reissues the first Conjoint album from 1997, originally issued by KM20/Source.
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BURO 002CD
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Originally from Mexico City and Buenos Aires respectively, Vicente García Landa and Matias Bieniaszewski met through a record-shop owning older brother -- coming together to form One Second Bridge and in doing so bringing their loves of pop, electronica, shoegaze and delicate psychedelia together in a crucible of audio rightness. Having met in their spiritual home -- the duo found they had an immediate musical affinity, ignoring the clichés normally associated with such "instant chemistry" and instead turning their hand to late-night recording sessions that tended towards boundless improvisation. Forming the backbone of this release, these bouts of musical improvisation in no way indicate an album full of wandering compositions or half-baked ideas. Rather, the One Second Bridge ethos verges on the melody-drenched output of classic 4AD or even Morr's Slowdive tributes. Opening with the self-titled "One Second Bridge," Garcia and Bieniaszewski roam into view against a watercolor backdrop of Basinksi-styled decaying soundscapes, before the contrast is drawn to the foreground through chiming acoustic guitars and a heat-haze of effects that leave everything tantalizingly out of reach. From here, the next stop is effects layered post-rock on the appropriately titled "No.2," wherein Mogwai's "Somewhere Nice" is given a bright-eyed rinse-down and comes out the other side with a genuine spring in its step that is both infectious and deeply moving. Elsewhere, "Um Minuto" uses some Satie-inspired piano to poignant effect, "Keep On Falling" manages to reference both Badalamenti and Slowdive without becoming overawed, whilst "Alt.Ending" sees you out on a blush of choral rectitude. A gorgeous album that wears its grandness with astonishing ease.
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