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viewing 1 To 16 of 16 items
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12"
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FM 017EP
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2021 restock. Two companion pieces make up this Foom 12". On the A-side, Ostgut Ton regular Tobias Freund artfully reframes Patrick Cowley & Jorge Socarras's "You Laugh At My Face". It was produced by Patrick Cowley and recorded in his home studio in California in the late 1970s. On the B side, elegantly balanced between euphoria and melancholia, Half Hawaii (Bruno Pronsato and Sammy Dee) share "Watch The Flash".
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7"
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FM 009EP
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Foom presents two new pieces by Micachu (Mica Levi): one for cello, played by Oliver Coates, and one for piano, played by Eliza McCarthy. "Peace", written for her mom, was first played by Coates on Micachu's radio show on NTS in 2014. It was re-recorded for this release in November 2016, and follows Mica Levi & Oliver Coates's Remain Calm (2016). Oliver Coates is an English cellist that's collaborated on Radiohead's latest album, A Moon Shaped Pool (2016). "Riding Through Drinking Harpo Dine" is the first of an ongoing series of piano compositions written by Mica Levi for Eliza McCarthy.
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LP
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FM 016LP
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New York Downtown producer/composer Peter Gordon returns with Eighteen, his first album in three years. Gordon on Eighteen: "Eighteen: the year of release, 2018. Eighteen: the age at which I first used a synthesizer. In creating Eighteen I worked independently in the studio, building up tracks with synthesizers and found sounds. After working with the tracks for several months, I shared them with some musicians, who added instrumental layers, sharing a similar working process in our personal recording spaces. The musicians are: Gabe Gurnsey (drums) of Factory Floor, Larry Saltzman, (guitar) known for his work with Arthur Russell and in demand by acts such as Simon and Garfunkel, Paul Nowinski's (bass) credits include Les Paul, Matt Mottel, (electric piano), is half of Talibam!, while Lewin Barringer (guitar), is a producer in Philadelphia. After mixing the final tracks, I brought the mixes to Berlin. There I worked with engineer Mike Grinser who helped to give the album a unified sound. I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Deliberateness paired with randomness: this is what guided the artistic process. My father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence growing up. From an early age, I experimented with the tape machine: recording, overdubbing and splicing tape, but electronic music was on my radar as well. My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a Moog modular synthesizer. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California, San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the '70s and early '80s in the same way recording studio technology became accessible in the '90s. Thus, the personal computer and digital audio allowed studio quality production in the home studio; electronic music had become democratized. Handmade music by way of digital technology; this is the music of Eighteen."
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LP
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FM 012LP
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2017 release. Bruno Pronsato returns with his first new artist album since 2011. Entitled US Drag, it's the follow-up to 2011's critically acclaimed Lovers Do (SONG 006CD/LP) -- lauded by Pitchfork as a "striking and massive statement", and decorated with a 4.5/5 rating by Resident Advisor. The new record, which finds the ex-punk rock drummer exploring dense, interlocking rhythms and unorthodox tuning systems, was recorded in Berlin during the second half of 2016, and features a collaboration with Liars' frontman Angus Andrew. After the vast, complex arrangements of his previous albums, the nine recordings on US Drag are relatively more upfront and direct, with a particular focus on bells, tuned percussion, and the Sequential Circuits Six-Trak synthesizer (used to create many of the album's synth parts). Pronsato's ongoing collaboration with Yonatan Levi continues, with the Israeli bassist appearing on the album's second track. "His music is worth the serious headphone scrutiny one devotes to a Pierre Henry or Eric Dolphy LP." --XLR8R "One of the most compelling artists in experimental house music . . . has a way of enveloping a space until everything else just feels inconsequential." --Resident Advisor "Amazingly fresh and joyously live . . . Wields silence as if it's his own instrument." --The Wire "Electronic nonpareil" --FACT Magazine.
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FM 013LP
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A few years ago, American composer and trombonist Peter Zummo discovered a 1984 recording of unreleased material from his "Six Songs" suite in his archive. "Six Songs" was the basis for Lateral Pass (FOOM 003LP, 2014), his award-winning score for modern-dance choreographer Trisha Brown's work of the same name. Material taken from "Six Songs" can also be heard on his seminal Zummo With An X, originally released on Loris Records in 1985 (OMZUMMO 001LP). The work is now being released as a new LP, Frame Loop. Recorded live and in single takes, it features a stellar line-up of longtime Zummo collaborators: Arthur Russell on amplified cello, Bill Ruyle on marimba, and Mustafa Ahmed on congas. Zummo plays trombone and euphonium. Zummo describes the recording as "an exercise in spontaneous arrangement". He mainly hews close to the score, while from time to time introducing canonic lines and variations. Arthur Russell, using his signature amplified cello sound, alternates between solos and rhythm playing. Bill Ruyle vamps on the notation, while Mustafa Ahmed's improvised percussion drives the forward momentum. Sometimes the music takes its time traversing a sonic landscape; at other points, it jumps from one section to another. Players' decisions push and pull the downbeat; rounds emerge, then disappear. Pitchfork has previously called Zummo's trombone work "peerless" and have described his music as "the sound of sublimity--that sends shivers down the nervous system." In an interview with The Quietus, Optimo's JD Twitch characterized Zummo's playing as "sheer bliss". In addition to performing his own compositions and leading his own ensembles, Zummo has worked with myriad bands, orchestras, composers, and musicians. His celebrated trombone style is recognized as one of the most beloved features of Arthur Russell's sound, for whom he played and collaborated with in the recording studio. Among many others are Peter Gordon and his Love Of Life Orchestra, drummer/producer Tom Skinner (Hello Skinny), cellist-composer/producer Oliver Coates, the Lounge Lizards, including the recording of Teo Macero's Fusion (1984), which also featured the London Philharmonic Orchestra, and the Downtown Ensemble.
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12"
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FOOM 006EP
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Recently unearthed Peter Gordon & David Van Tieghem collaboration from 1978, featuring vocals from special guest Kathy Acker, author of post-modern classic Blood And Guts In High School (1984). Gordon and Van Tieghem play all of the instruments and electronics, overdubbing on a 1" 8-track recorder. The result is intimate and vulnerable, yet ice cold and edgy. "Winter" is a cold-wave, proto-techno track. "Summer" is a lyrical and romantic instrumental. With Van Tieghem's drumming laying down the bedrock, the acoustic piano and vari-speeded marimba take turns drifting in-and-out of the foreground. Artwork features two new original, drawings by Laurie Anderson.
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12"
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FOOM 008EP
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Bruno Pronsato and Benjamin Myers return as NDF, with Cruel Is The Color. Six years after Since We Last Met (2010) whose title track was heralded as a "10-minute dance track you don't ever want to end" by Pitchfork, who also included it in their "My Decade in Music So Far". Recording Cruel Is The Color took about 30 minutes, with Pronsato on percussion and synths, and Myers on vocals, synths, and acoustic guitar. The following winter they recorded "Certain Corners" (with Israeli bassist Yonatan Levi), and "Another Year". Includes re-workings by Matthew Herbert, and Foom label head Ben Freeney.
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CD
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FOOM 007CD
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Rhys Chatham returns with his first solo album since 2013, the enchanting Pythagorean Dream. Having studied under Terry Riley and La Monte Young (with whom he later went on to work), Chatham fused the overtone-drenched minimalism of John Cale and Tony Conrad with the relentless, elemental fury of the Ramones. It was an inspired amalgamation -- the textural intricacies of the avant-garde colliding with the visceral punch of electric guitar-slinging punk rock -- and with it Chatham created a new type of urban music. Raucous and ecstatic, this sound energized the New York Downtown scene throughout the late 1970s and early 1980s, prefigured the no wave movement, and cast a huge influence over the subsequent work of Chatham's many protégés, including Glenn Branca and future members of Sonic Youth. Primarily focused on the electric guitar (but also featuring flute and a bit of trumpet) this recording is named after the Pythagorean guitar tuning it employs. The recording is a truly solo endeavor, composed, performed, produced, engineered, and mastered solely by Chatham. Chatham began to develop solos that he would play himself, choosing to incorporate the multi-second delay effect pioneered by Terry Riley with two Revox tape machines. Feeling that it tied in with his overall minimalist aesthetic and that the effect (which gives the impression that choirs and choirs of instruments are playing) was fitting as a succession to his 100-guitar idea, Chatham created and layered feedback loops of varying durations using Riley's method in order to create rich, overlapping layers that in practice transcend the limitations of their start and end points, blooming into free-flowing melodies in their own right. "Part One" of Pythagorean Dream opens with a brief trumpet intro, followed by a guitar piece that implements a finger-picking technique (Chatham has long been a fan of this style; John Fahey was one of his teenage musical heroes), before moving to an EBow section and concluding with the fast tremolo flat-picking technique used in the context of his 100-guitar pieces. "Part Two" is principally about Chatham's return to the flute, the instrument that sparked his love of contemporary music before he experienced an early Ramones show at CBGB and began focusing on the electric guitar. Pythagorean Dream features Chatham on C, alto, and bass flutes. The recording is brought to a close with a final guitar piece. The CD version include a bonus track recorded at the Whitechapel Gallery in London.
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FOOM 007LP
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LP version. Includes printed inner sleeves and download code. Rhys Chatham returns with his first solo album since 2013, the enchanting Pythagorean Dream. Having studied under Terry Riley and La Monte Young (with whom he later went on to work), Chatham fused the overtone-drenched minimalism of John Cale and Tony Conrad with the relentless, elemental fury of the Ramones. It was an inspired amalgamation -- the textural intricacies of the avant-garde colliding with the visceral punch of electric guitar-slinging punk rock -- and with it Chatham created a new type of urban music. Raucous and ecstatic, this sound energized the New York Downtown scene throughout the late 1970s and early 1980s, prefigured the no wave movement, and cast a huge influence over the subsequent work of Chatham's many protégés, including Glenn Branca and future members of Sonic Youth. Primarily focused on the electric guitar (but also featuring flute and a bit of trumpet) this recording is named after the Pythagorean guitar tuning it employs. The recording is a truly solo endeavor, composed, performed, produced, engineered, and mastered solely by Chatham. Chatham began to develop solos that he would play himself, choosing to incorporate the multi-second delay effect pioneered by Terry Riley with two Revox tape machines. Feeling that it tied in with his overall minimalist aesthetic and that the effect (which gives the impression that choirs and choirs of instruments are playing) was fitting as a succession to his 100-guitar idea, Chatham created and layered feedback loops of varying durations using Riley's method in order to create rich, overlapping layers that in practice transcend the limitations of their start and end points, blooming into free-flowing melodies in their own right. "Part One" of Pythagorean Dream opens with a brief trumpet intro, followed by a guitar piece that implements a finger-picking technique (Chatham has long been a fan of this style; John Fahey was one of his teenage musical heroes), before moving to an EBow section and concluding with the fast tremolo flat-picking technique used in the context of his 100-guitar pieces. "Part Two" is principally about Chatham's return to the flute, the instrument that sparked his love of contemporary music before he experienced an early Ramones show at CBGB and began focusing on the electric guitar. Pythagorean Dream features Chatham on C, alto, and bass flutes. The recording is brought to a close with a final guitar piece.
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12"
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FOOM 005EP
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Bruno Pronsato debuted his Archangel project in 2014 with The Bedroom Slant (FOOM 002CD/LP). This remix EP opens the previously unreleased "Blue Eyes Blind/This Romance." Dean Blunt follows with a ten-minute, automated, spoken-word rework of "Julia." For his first-ever remix, New York Downtown scene figurehead Peter Gordon enriches the intricate percussive patterns of "Half-Man Half-Lisa" with his playful rhythms and restless melodies. Cellist, producer, and Southbank Centre Artist in Residence Oliver Coates (who has collaborated with Jonny Greenwood, Mira Calix, and Micachu) rearranges the synthesized melody of "L.A. Teen (Live)" for cello and reconstructs the percussion to fit his vision.
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CD
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FOOM 004CD
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Many of Peter Gordon's old friends and collaborators, such as the late Arthur Russell, have been extensively documented through reissues, books, and films, but Gordon himself remains a bit of an enigma. In 2007, his music received a high-profile push from James Murphy, who prominently featured Gordon and Love of Life Orchestra in his FabricLive.36 mix (FABRIC 072CD). In 2010, Murphy's label DFA released a revelatory collection of Gordon's music from the '70s and '80s, which included two little-heard tracks recorded with Russell, and shed light on Gordon's long career. Gordon performed his first symphony, Symphony in Four Movements, at The Kitchen in New York in 1976, with a band that included Russell, Philip Glass, Laurie Anderson, and Rhys Chatham, and formalized his Love of Life Orchestra in April 1977, initially a 12-musician group. Gordon's exploration of disco, electronic, pop, and jazz elements blended with experimental music has since included collaborations with Factory Floor (OM 019EP), Archangel (FOOM 002CD/LP), and Tim Burgess, as well as a role as music producer on Robert Ashley's opera Vidas Perfectas. Gordon now presents Symphony 5, recorded in front of a live audience by Grammy-winning producer Jeff Jones "The Jedi Master" on June 5, 2013, in the acoustically marvelous Roulette concert hall in Brooklyn. The performance is tight but loose: there's plenty of room for the unexpected as Gordon the composer allows Gordon the conductor to make decisions on the fly. Throughout the work's five movements (one of which, "Juvenalia," is an homage to "Project Chick" by Lil Wayne's and Mannie Fresh's hip-hop super group Cash Money Millionaires), Gordon's instrumental writing keeps moving, leading the listener through careening textures of counterpoint and groove, to say nothing of pleasure and pain; beneath all its exuberance and dry humor flows a dark undercurrent. The performance includes long-time LoLO members Peter Zummo (trombone), Randy Gun (guitar), Ned Sublette (guitar), and Bill Ruyle (mallet percussion). Also featured in the ensemble are Cuban jazz luminaries Elio Villafranca (piano) and Yunior Terry (bass), renowned Latin jazz musician Robby Ameen (drums), New York veteran Paul Shapiro (saxophones), Katie Porter (clarinets), and second-generation LoLO member Max Gordon (trumpet). Peter Gordon conducted the performance while playing combo organ and synth. Symphony 5 is the first release in Foom's extensive series devoted to Gordon. The series will concentrate on new recordings, unearthed material from his personal archive, as well as a few select reissues from his discography.
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LP
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FOOM 004LP
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LP version. Includes a download code for sound files and video extras.
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12"
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FOOM 001EP
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"My pop-historical spirit animal, so to speak, has always been Gary Numan in this snapshot of studio toil. I still feel that the sleek, mechanical sex appeal of 'Metal' is seductive, so, for the A-side, I decided to take the basics from Numan's track (bass line, synth) and transform them into my darker, drone driven style... the B-side, 'Momentum of the Farce,' strikes a different chord... While making it, I imagined myself playing live to 20 people -- the 20 people who appreciate a sunrise at the party but simultaneously enjoy the thought of going home." --Archangel (Bruno Pronsato)
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2LP
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FOOM 002LP
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Gatefold double LP version. Bruno Pronsato, one of electronic music's most vital and innovative producers, presents The Bedroom Slant, the first full-length release under his new Archangel moniker. This new chapter follows "Since We Last Met" (2010), his shimmering and haunting collaboration as ndf with Sergio Giorgini of Benoit & Sergio, which Pitchfork and Resident Advisor hailed and DFA chose to close its 2010 Compilation; and Lovers Do (SONG 006CD, 2011), Pronsato's third album, which Resident Advisor rated at 4.5 out of 5 and Pitchfork rated at 8.1, lauding the work as "a striking and massive statement." Pronsato has also released on Perlon as Half Hawaii, his collaboration with Sammy Dee; on Telegraph as Public Lover, his collaboration with Ninca Leece; and on Hello? Repeat as Others, his collaboration with Daze Maxim. Archangel is a significant new chapter in the evolution of Pronsato's signature electronic sound. The human voice acts as one of its major elements, as Pronsato steps up to the mic to take on vocal duties, and it incorporates traditional instrumentation to a larger degree than his previous work, with his brother David Ford's bass guitar lines forming the rhythmic foundation for many of the new songs. Acknowledging his long-held love, fostered by radio, of pop, rock, and post-punk in his music for the first time, Pronsato filters his experimentalism through his formative romance with the airwaves. Pronsato is known for creating remarkably fresh and strange music from his influences, unrecognizable when compared to its inspiration. He wrote, produced, recorded, and mixed The Bedroom Slant during early morning sessions in the Prenzlauer Berg studio he shares with Benoit & Sergio. The album features collaborations with downtown scene multi-instrumentalist Peter Gordon (Love of Life Orchestra), Randy Jones aka Caro (co-founder of Orac Records), bassist Yonatan Levi (The Jimmy Cobb Quartet), and Chicago-based composer and pianist David A. Powers. Artwork by UK-based artist Marilyn Thompson. Mastered by Mike Grinser at Manmade Mastering, Berlin.
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CD
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FOOM 002CD
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Bruno Pronsato, one of electronic music's most vital and innovative producers, presents The Bedroom Slant, the first full-length release under his new Archangel moniker. This new chapter follows "Since We Last Met" (2010), his shimmering and haunting collaboration as ndf with Sergio Giorgini of Benoit & Sergio, which Pitchfork and Resident Advisor hailed and DFA chose to close its 2010 Compilation; and Lovers Do (SONG 006CD, 2011), Pronsato's third album, which Resident Advisor rated at 4.5 out of 5 and Pitchfork rated at 8.1, lauding the work as "a striking and massive statement." Pronsato has also released on Perlon as Half Hawaii, his collaboration with Sammy Dee; on Telegraph as Public Lover, his collaboration with Ninca Leece; and on Hello? Repeat as Others, his collaboration with Daze Maxim. Archangel is a significant new chapter in the evolution of Pronsato's signature electronic sound. The human voice acts as one of its major elements, as Pronsato steps up to the mic to take on vocal duties, and it incorporates traditional instrumentation to a larger degree than his previous work, with his brother David Ford's bass guitar lines forming the rhythmic foundation for many of the new songs. Acknowledging his long-held love, fostered by radio, of pop, rock, and post-punk in his music for the first time, Pronsato filters his experimentalism through his formative romance with the airwaves. Pronsato is known for creating remarkably fresh and strange music from his influences, unrecognizable when compared to its inspiration. He wrote, produced, recorded, and mixed The Bedroom Slant during early morning sessions in the Prenzlauer Berg studio he shares with Benoit & Sergio. The album features collaborations with downtown scene multi-instrumentalist Peter Gordon (Love of Life Orchestra), Randy Jones aka Caro (co-founder of Orac Records), bassist Yonatan Levi (The Jimmy Cobb Quartet), and Chicago-based composer and pianist David A. Powers. Artwork by UK-based artist Marilyn Thompson. Mastered by Mike Grinser at Manmade Mastering, Berlin.
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LP
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FOOM 003LP
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Peter Zummo's Lateral Pass suite continues on stylistically from where Zummo With With an X (OMZUMMO 001LP) left off, with four unique and arresting movements: "Sci-Fi," "Slow Heart", "Song VI," and the original quintet version of one of the most acclaimed of Zummo's collaborations with Arthur Russell, "Song IV." Originally written as the score for the Trisha Brown Dance Company production of the same name, Lateral Pass prominently features Russell on amplified cello and vocals, as well as regular Russell collaborators Bill Ruyle on tabla and marimba and Mustafa Ahmed on marimba and percussion, the acclaimed accordionist Guy Kluvecsek (collaborator of John Zorn and Alvin Lucier), and Zummo himself on trombone. Peter Zummo is best known for his work with John Lurie's Lounge Lizards, Peter Gordon's Love of Life Orchestra, and Arthur Russell. Zummo's signature trombone style, renowned for its rich and soothing tone, has become one of the most beloved features of Russell's celebrated sound. As well as being close friends, their musical symbiosis was so complimentary that they almost seemed to form a single entity at times, to the point where it would be hard to imagine one's music with the other. Lateral Pass provides another example of the fruits of this relationship, as well as a further insight into Russell's cello-dominated World of Echo period. Recorded live at Battery Sound, NYC, in 1985, Lateral Pass was mastered in Brooklyn by Paul Gold from the original ¼" tapes in the summer of 2013, exclusively using analog equipment for the vinyl edition and foregoing compression in order to preserve the original dynamics of the recording. In contrast to the version released by New World Records with Zummo With an X in 2006, these arrangements are previously unreleased and exclusive to Foom. Lateral Pass is now presented on vinyl for the first time, accompanied by American artist Nancy Graves's artwork from the original shows.
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