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LVD 095CD
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"The band came together in 2000, featuring members of The Renderers (Brian and Maryrose Crook) and Sandoz Lab Technicians (Nathan Thompson and James Kirk). Held up for years due to technical faults with the recording of 'Twister,' the band has at last salvaged a classic NZ album as great (or better) than we might expect from the conjunction of these two bands. In sound, it is a heavy atmosphere; ponderous psychedelic country (if you consider The Renderers country), adrift in washes of weird noise improv that somehow fits the songs best. A better soundtrack for Inland Empire than Lynch managed, and perhaps a sister album (at least spiritually) to Bardo Pond's Amanita. And when one thinks there is nowhere left to go after the still beauty of 'Weirder,' the album at last kicks up the tempo, finishing with the terrific rocker 'Slow Motion' (which is not that slow at all). For any who've loved the two bands that have merged here, nevermind the likes of The Terminals, Dadamah, Dissolve/Roy Montgomery, Flies Inside The Sun, Alastair Galbraith, etc., etc. Here's your next purchase."
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LVD 115CD
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"Vapaa is a loose collective of musicians but this recording represents the basic 'core' group; Joel Kivela, Tiitus Petajaniemi, Keijo Virtanen and Jari-Pekka Koho. We met in Jyvaskyla, Finland in year 2003-2004 and after that we have made many records to different labels and played live shows around Finland and one tour in Europe as Keijo and the Free Players. Organic, drifting psychedelic improv without much in the way of modern equivalents. Easily compared to a few Krautrock favorites (early Amon Duul 2 and a very quiet Ash Ra Tempel) -- but in general a bit more relaxed (perhaps a little International Harvester?) For those well versed in the LVD sound, this is fairly definitive."
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LVD 120CD
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"Wild Flowers Under The Sofa is the third and new album by the Italian duo project formed by Gianluca Becuzzi and Fabio Orsi. Gianluca Becuzzi is an electronic/electroacoustic composer and sound artist active since the '80s. He released many albums and performed live around Europe during the last decades under various names. Fabio Orsi is a young talent recently come out thanks to a series of excellent releases welcomed by international critics and audiences. Wild Flowers Under The Sofa is an intense and fascinating album made of guitars, old keyboards, field recordings and sound objects. Three long compositions between avant-garde and folk traditions where everything plays with big emotion: visionary soundscapes, deep drones and sudden noises. This work is particular for its sound sources extracted from previous duo productions with brand new sounds and structures making in this way an unreleased brilliant mix. This CD is a must-have for avant-folk lovers and Gianluca and Fabio represent the best of this scene."
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LVD 118CD
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"Originally from Dunedin, New Zealand, John White plays in Mëstar, The Zoo Polluters and Sunsets On Acid. In the last few years John has been involved in several cultural exchanges, including an extensive European tour with avant noise pop Cloudboy, providing live soundtracks to archival New Zealand footage. Last year John traveled to South Korea with Wellington noise band Amalgam to perform a special performance in a Buddhist monastery. The new LVD release of Mogwash is a compilation of the two dream-pop folk albums Balloon Adventure (2000), a one-day spark in reaction to months of arduous Mëstar recording, and Mogwash (2003) which was recorded in Berlin with fellow members of Cloudboy."
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LVD 117CD
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"Eyes Like Saucers is the solo project of Jeffrey K., formerly the Farfisa organist for Secret Eye recording artists urDog. Eyes Like Saucers explores the darker, more organic regions of inner space via a slightly modified Indian pedal harmonium, effected voice, percussion and electronics. Drawing inspiration from such artists as Nico, Robert Wyatt, Popol Vuh, Current 93, and early 20th century German poet, Georg Trakl, Eyes Like Saucers channels the incessant and labored breathing of the ancient harmonium to evoke a mood that is bleak and doom-laden, while reaching for the sublime. The title Still Living In The Desert (And Mostly Inside My Own Head) is derived from a late journal entry of Nico's. Jeffrey spent most of the year 2006 living within a Volkswagen van in the northern Arizona desert, with his dog, his harmonium, and a 4-track cassette recorder, and much of the material on Still Living... he recorded during this period. The music often betrays a childlike simplicity -- as though the artist were completely unaware of what he was doing; yet a close, critical examination will reveal that certain patterns and structures do emerge, and perhaps even more. There is undoubtably a cohesiveness, a logic, and, for want of a better term, an underlying -- and unstated and inextricable -- 'numinosity.'"
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LVD 111CD
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"The Stumps are a New Zealand based noise-rock trio made up of members Antony Milton (Pseudoarcana, The Nether Dawn, Mrtyu, etc), James Kirk (Sandoz Lab Technicians, Black Boned Angel, Gate, etc), and Stephen Clover (Palindrone, seht). Formed in Wellington in 2003, the group is known for its noisy guitar soundscapes and improvisational take on psychedelic rock music. Most often, Clover plays bass, Milton sings and plays electric guitar, and Kirk plays drums, though the group are known to expand their instrumental palette using synthesizers, field recordings, electronics, and guest musicians. With a laundry list of individual accomplishments preceding them, The Stumps bring high expectations. They've been compared to such seminal acts as The Dead C, Guru Guru, Acid Mothers Temple, Fushitusha, Les Rallizes Denudes, Sun Ra and the Velvet Underground, but these Kiwis have their own twist in their psychedelic cosmic explorations. They are robust and powerful; an exciting and often overwhelming listening experience. It'll burn out your eardrums and douse the flames in hot wax. But fear not, within these methodic blasts are moments of icy calm. Underneath all this chaos is a relaxed thread, keeping some semblance of order intact."
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LVD 113CD
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"Haunt is a swirl of Farfisa organs, loops, stretched-out guitar, and the fragmented, fractured beats of an analog drum machine and tube amplifier static. The album was recorded by Erik Carlson & Jeff Knoch late 2005. What began as a plan to record a dual-Farfisa album (both Erik & Jeff are Farfisa aficionados) quickly and organically turned into much more. The two musicians convened and over the course of two brief sessions, spun out a sequence of songs whose repetitions and details hold much more than the surfaces first reveal. These spontaneous compositions emerged fully formed with barely a pause to switch tape, the only addition being a similarly inspired track recorded live on a radio performance in early 2006. The title, Haunt, refers to frequented places or states of mind, places we return to again and again, sometimes obsessively, sometimes in a somnambulistic trance. These are not ghost stories, but we can't deny the unexplained other's spectral presence (as in so many of AREA C's compositions). The title was originally inspired by a book of the same name by poet Keith Waldrop. Remnants of other times and places, outdated technologies, signals sent out but never received -- this is the bed over which Erik & Jeff layered their revolving organ lines and pulses. The results are mesmerizing."
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LVD 099/100CD
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"First entry in an on-going 'annual report' style compilation, programmed with the same sensibilities as 2005's Invisible Pyramid compilation by label guru Chris Moon. This entries' line-up includes: Keijo's Free Players, Brad Rose's North Sea, Western Automatic, the Ilya Monosov/Preston Swrinoff duo, Andrea Belfi (previously heard on the Invisible Pyramid comp), Paper Wings (Antony Milton + Anthony Guerra), Northern Cross (new Geoff Mullen + Kris Lapke duo), Brasil & the Gallowbrothers band, Sunken (Pumice + A.M.), Kawaguchi Masami's New Rock Syndicate (Miminokoto) and the never-before-heard Oaxacan. Over 2 hours and 20 minutes of new, exclusive material from the very furthest outside of what is already an outside label."
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LVD 110CD
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"The Idle Suite are a six piece improv-rock group from Wellington, New Zealand. The band members come together from a variety NZ underground acts including Sferic Experiment, MarineVille, The Stumps, Dress, Sandoz Lab Technicians, King Loser, Cloudboy and Bad Statistics. Driven by two drummers, The Idle Suite's music is open-ended improvised rock. At times the band is content to sit on one note, at others burst into dissonance or evolve melodies. Some tracks bear the influence of the band members' background in making 'song' based music. The band's line-up is Greg Cairns (drums), James Kirk (drums), David Hall (guitar, bass), Mark Williams (guitar), Kristen Wineera (keyboards), Johannes Contag (keyboard/sampler) with guests Bevan Smith (guitar), and Andrew Wright (keyboard)."
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LVD 063CD
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"Continuing with their exhaustive, snail's-pace release schedule, New Zealand elder-statesmen improvising trio Sandoz Lab Technicians have finally given birth to their 6th album in 13 years. The Lab Techs are particularly excited about this one, as it features as its centerpiece (and title track) the band's first truly hi-fi DDD recording, having been laid down in a fully-armed digital recording studio in Sydney, Australia during 2005's micro-NZ Noise Festival (featuring fellow NZers Birchville Cat Motel, The Stumps, 1/3 Octave Band, seht, and Oz wizards Castings and 6majik9). The Western Lands is an aural journey through a constantly shifting miasmic landscape of sinister beauty and the band hereby challenges even the most recalcitrant reviewer to toss the 'lo-fi' tag at this one (okay, 2 of their last 5 albums WERE recorded entirely on Sony Walkman...). The Western Lands is book-ended by two shorter tracks recorded earlier at the groups long-time practice space at 8 Canongate, Dunedin -- the beautifully befuddled 'Nebulous' and the soothing faux-Japanoise lullaby 'Crocus Blossom.' All in all, it's a bona fide full-scale 3D mind-movie of an album, featuring the usual wide range of instrumentation (guitars, piano, violin, drums, effects, computer, autoharp, fender Rhodes electric piano, bush sax, reed flute, bamboo flutes, melodica, walkie-talkies, hand drum & cymbal, bells, glass and water... lots and lots of water)."
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LVD 1003CD
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"Third installment for our avant-garde/free-improv/difficult listening series. Compilation of unreleased and new, challenging music assembled by Ilya Monosov. Somethings #1 features Chie Mukai, Sarah Peebles, Masayoshi Urabe, Nick Castro, Preston Swirnoff, Andrew Deutsch/John McPhee and of course Ilya Monosov himself. This collection stresses an ill-defined region between composed music and improvisation, where both elements come into play. Some of the pieces use traditional instrumentation, others use field recordings. Regardless of construction, these are all artists working at the farthest boundary of what is defined (or not yet defined) as music, hence the title of the album."
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LVD 104CD
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"Eastern Fox Squirrels is a collaboration between Brad, his wife Eden and Robert Horton. Along the way they are joined by the talents of Tom and Christina Carter (Charalambides), Dan Plonsey (a player in the company of Anthony Braxton and Eugene Chadbourne) and Jason Bill (Charlambides, also recording with Jack Rose.) Sonically, Eastern Fox Squirrels has a varied pallet. Like the Jewelled Antler folks, we have bouzouki, glockenspiels, bowed banjos, weird exotic flutes and who knows what else being used to great effect. The results being very much like what you'd expect; experimental but with soft, round edges and nice, nearly ambient dirges that feel welcome but really aren't normal."
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LVD 102CD
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"Keijo hails from Jyväskylä, Finland -- a small town in the north that claims to be the center of the universe. In the sprawling Finnish underground, Keijo is the wise sage who everyone admires. He has worked and collaborated with Finnish acts such as Vapaa, Avarus, and Kheta Hotem, while seeing CD-r releases on the ultra-hip pseudo Arcana and Lal lal lal labels. While using all acoustic sources, For a While is flat out weird. Essentially the structure utilized here is folk, but somewhere way beyond the analogy of Tim Buckley's Lorca dream-structure being used to break down reality subconsciously. It isn't even easy to listen to. Unsettling minimalist guitar riffs drift under sheets of detuned/stretched-out bell samples. No, this isn't the sort of weirdness that grabs you by the collar and shakes you around a bit. This is another, more insidious weirdness that isn't apparent right away, but rather you wake up one morning and realize you weren't the person you were before."
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LVD 004CD
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"Austere drone / sound collage / aural texture. The two pieces here (one at 50 min, the other at 30) fuse ideas from contemporary minimalism (Bernard Guenter, Annea Lockwood, etc.), Japanese noise artists (such as Aube) and 20th century classical (Ligetti, Pendereki, etc.) to create slowly evolving soundscapes that occasionally build to crescendos or reveal accidental harmony. Yermo made up the electronic aspects of MCMS and has had previous releases on LVD as well as Birchville Cat Motel's Celebrate Psi Phenomena label."
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LVD 108CD
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"Ben Reynolds is one of the newer voices from the same UK scene that includes Ashtray Navigations and many of the VHF celebrities (Sunroof!, Vibracathedral Orchestra, Richard Youngs, etc.) It should be of little surprise then that Book of Beyond fits very nicely among the recordings of those other artists -- noise/junk drone. As in his previous recordings, this at times dissolves into more acoustic offerings, but the Fahey influence appears to be mostly gone, and what remains in the quieter moments is far more bewildering. Time-stretched bells and weird short-wave transmissions, one helluva lot of well used ring-modulator (nice to hear it done well for a change), fumblings on more traditional instrumentation (flute, guitar, etc.) but never coming together to form anything you might call a song. Book of Beyond may truly be well titled, since this is music stretches out beyond his two other recent releases, taking what he's learned from his participation in Ashtray Navigations and focusing more on texture and aural disorientation. This is definitely the kind of uncomfortable music we are proud to release!"
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LVD 025CD
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"Perhaps this wispy history, built as much upon the shadow ground of myth, rumor and superstition as upon sun-kissed fact, accounts for the spooked air that animates Inaba's every breath. The spirit of personal myth permeates too his lyrics, which at their most opaque seem to float through the mists of a timeless rural antiquity. Heard here in his natural element of a live concert (his previous two albums, Innen Kaho on Planktone and Land of Prayer on PSF were both studio recordings) we can hear true the spirit winds whistling through ancient cryptomeria groves, stirring the bark shingles on shrine roofs." -- Alan Cummings.
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LVD 103CD
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"The Free Players are a super-group featuring members of Finnish free-jazz pawnpins Vapaa, Kheta Hotem, Kundalini Snakes and the venerable Keijo Virtanen. While previous documents of this band exist, this is apparently the more democratic version (no longer is it 'Keijo and the Free Players'), a shift documented by the more accessible sound here. What we have here is an hour long set of jams that seems more reminiscent of Floyd and the Dead than what we've come to expect from Keijo's previous output. Wild guitar leads and wailing sax (nevermind the space-organ) reveals immediately what cloth this recording has been cut from -- which is to say that The Free Players is a true psychedelic album!"
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LVD 094CD
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"Islaja (Fonal) side-man and frequent tour-mate with Larkin Grimm (Secret Eye), Sala-Arhimo's debut oozes a slow psychedelic radiance from a half-frozen world of hibernation. A bit of ancient Pink Floyd as reference point, perhaps some of the jazz-like moments of Faust's more gentle side, but here all comparisons end. This is another one of those 'you need to hear it, but there's no way to get it' Finnish geniuses whose music shares much affinity with the Lal lal lal crowd (Kemialliset Ystavat, Avarus, etc.), but focuses less on the purely experimental, and more on rich, melodic drones and voice."
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LVD 097CD
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"Swagger Jack might draw comparison to John Fahey's Blind Joe Death, if only that both characters are completely fictional. Fans should have no problem detecting that this is New Zealand's Antony Milton in full-on songwriting mode (versus his noisier projects such as AM and Nether Dawn.) Self-described hillbilly/bluegrass/folk music, Antony couldn't have been more wrong. This is the sort of brilliant misinterpretation (has Antony every heard hillbilly music?) that almost always results in something truly new and innovative. With most of 'Swagger Jack's' sound still being derived from the lo-fi, downer-pop of New Zealand legends like This Kind of Punishment, The Terminals, Roy Montgomery, Alastair Galbraith and even The Clean, Swagger Jack's veins are filled with the feral blood of the Velvet Underground, Joy Division and Wire (Chair's missing.) How all this becomes synthesized into edgy-folk-like songs about camping is hard to say. A deeply creative and melodic album that makes sense in New Zealand, but may be completely beguiling to all the rest of us."
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LVD 079CD
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"New full-length release from Finnish-based Tivol; sounding like part Amon Duul 2 (think the first track on Yeti), part Blue Cheer and part High Rise."
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LVD 088CD
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"This is the same Neville behind Pumice (Raft previously on LVD, and Yeahnahvienna (Soft Abuse) as well as a collaborator with the likes of C.J.A, Witcyst, Matt Middleton, Antony Milton, Chris Knox (Tall Dwarfs) and Campbell Kneale (Birchville Cat Motel), so you should know what to expect: eccentric one-man-band lo-fi goodness. But where Stefan's other releases have always taken the existence of pop-music for granted albeit filtered and fucked 'til broken,' Do Not Destroy makes no such assumption. Recorded in the night-times, while daytimes were consumed with a mundane and low-paying filing job, the Do Not Destroy album is an exercise in desperate escapism that is ultimately more personal than Neville's other works (and also his most challenging.) Recorded back when Pumice was still a two piece, Do Not Destroy is the original noisy, primitive Neville, back when making a shit-load of noise was still the best sort of music to release!"
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LVD 098CD
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"If you picked up Last Visible Dog's recent six-disc Invisible Pyramid: Elegy Box, you were treated to a 19-minute exercise in drone poetics, courtesy of Providence, R.I.'s Area C. His track, 'Chain Bridge,' led off the final disc of the set and proved that this relatively new voice in the drone scene was definitely worthy to sit alongside the likes of Ben Reynolds, Ashtray Navigations and My Cat is an Alien. As great as Eric Carlson's contribution was to the compilation, it was just a tease, preparing us for this, his debut full-length. The fact that Traffics + Discoveries was crafted primarily with guitar loops and effects pedals does not mean that you know what to expect from it before you even listen. The sounds that Carlson achieves with this palette are definitely not monochrome -- a broad spectrum of sound washes over you during the entirety of the album. There is never a dull moment, as each track takes on a separate dynamic realm and the songs themselves change shape, eliciting a stimulating listening experience."
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LVD 078CD
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"Dirt-soaked dirges and country-fried jams filter through the backwoods of their Madison, Wisconsin home on Free Country. This is the beginning. This is the moment Davenport was truly born. Clay Ruby and his clan bring us an album full of diamonds and pearls. Conjuring up the spirits of No Neck Blues Band and Jackie-O Motherfucker, Ruby and his primitive choir sing late into the night. The entire proceedings are a celebration of the journey. Where it leads is of no consequence, but embarking on a trek to find something new is what matters."
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LVD 076CD
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"This is the same Clayton Noone who isn't (but will soon be) a legend; the same man behind the art-punk Futurians and junk-noise Armpit. Nevermind his super obscure CD-R- only collaborations with Last Visible Dog label-mate Antony Milton, going under the name 'Claypipe.' Ironclad however differs from so much of Noone's output in that it is both more personal and more accessible. While none of the trappings of the low-fi New Zealand noise aesthetic are gone, this is more gentle, more melodic; a folk album of sorts, constructed out of feedback and distortion of course. Standing tall with the Dead C, Terminals and Roy Montgomery, Ironclad is a rare intimate encounter with one of the most uncompromising artists of the Southern Hemisphere."
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LVD 060CD
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"Antony Milton is one of the new important voices to appear from New Zealand in the wake of The Dead C and the mid-'90s 'free noise' scene. Milton is at all times an intelligent interpreter of what's come in the last two decades -- this is after all the same islands that brought us Xpressway Records and The Clean. The Nether Dawn is arguably Milton's take on free noise, though it feels less abstract (and off-putting) than the likes of Handful of Dust and Flies Inside the Sun, utilizing instead a warm, broken drone not unlike 'Wreck Small Speakers on Expensive Stereos' (Ajax); that is to say, this is a more mellow, intimate drone experience for one and guest. There may also be a hint of influence from Finnish collaborator Uton (who is the modern master of shortwave-drone-bliss)."
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