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viewing 1 To 17 of 17 items
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2LP
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LUMB 036LP
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Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion's first album for 12 years, skillfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion's work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, "unwanted" analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. On the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on "Strawberry Fields Forever." Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that's at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It's an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison d'etre. The Itself of Itself catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed deluxe cover also comprising a 24pp. booklet of his photographs and an obi strip, this version of The Itself of Itself arrives on Lumberton Trading Company as a double LP pressed in an initial run of 1000 copies.
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CD
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LUMB 036CD
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Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion's first album for 12 years, skillfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion's work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, "unwanted" analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. "Apparition 3" presents a stark nod to Wilson's established command of shifting textures steeped in penumbral gauze, while "Bruise" is akin to a space probe adrift and headed towards a white dwarf as all communication is reduced to a disturbing and indecipherable crackle. Meanwhile on the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on "Strawberry Fields Forever." Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that's at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It's an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison 'etre. The Itself of Itself catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed deluxe cover and featuring a 24-page booklet of his photographs and an obi strip, The Itself of Itself arrives on Lumberton Trading Company as a CD pressed in an initial run of 1000 copies.
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10"
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LUMB 032LP
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The idea of a release by the founder of The Legendary Pink Dots on Lumberton Trading Company had been mooted for a number of years. In fact, they were close to issuing a 7" around 2010, but this fell through due to the usual problems often facing small, more or less homespun, labels. The idea of still doing something with this prolific stalwart of music cut from those many folds where avant-garde abstraction locks horns with molten psychedelia, kosmische sounds, electronica and an approach to songwriting never afraid to go wherever the mood takes, however, never left. Attached to all of this, as always, are Edward's words, where wry everyday observations can mutate or be twisted into new forms given a distinctive surrealist slant. Collected on this limited 10" are five songs adding up to the length of a mini-album. Edward may well be one of the most active artists to have first emanated from the early 1980s cassette network, but Lumberton Trading Company is more than happy to play a small part in this continually unfolding, and always interesting, story. Edition of 500.
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LP
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LUMB 029LP
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For a number of years now, Sion Orgon has been crafting music that fuses abstract electronic mulch with the kind of bright melodies one would expect from a shiny pop group. Using avant-garde sensibilities and a vision partly shaped by his affiliation with both Thighpaulsandra and Coil, the Welsh producer/musician has never been afraid to push these into areas most artists of a similar disposition would never be bold enough to touch. At once catchy, psychedelic, filmic and disturbed, Sion Orgon's work has a very distinctive feel to it that only arrives from a craftsman firmly locked on to his own path. Dust is the very latest collection of work, comprising six new tracks featuring Thighpaulsandra (Coil, Spiritualised, Julian Cope) on half of them and a number of other guests, including Claudio Gian, Lara Ward and Richard Johnson (Splintered, Theme). Somewhere amongst the many convoluted folds of often weird 'n' wonderful sounds are texts spoken by a number of random Finnish and Latvian people, further enhancing the multi-dimensional stealth attack of any one of the songs presented here. Like, again, his regular collaborator Thighpaulsandra's work, Sion's is enmeshed in rich layers and tangents so disparate they'd never make sense in anybody else's hands, and despite the countless such claims put forward by those essentially creating music permanently stuck in first gear this truly is aimed at those who demand far more from their listening experience. Limited to 300.
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CD
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LUMB 028CD
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Chapel In The Pines is the latest set of collaborative work by Oxbow front man Eugene Robinson and master of sonic architecture, Philippe Petit, featuring Percy Howard on additional vocals. The five pieces here are built around brooding spoken word accompanied by a range of electronics, guitars, percussion, piano and metallic sounds molded into suitable backdrops. Anybody familiar with the previous collaborative albums -- The Crying of Lot 69 (2011) and Last of the Dead Hot Lovers (2012) -- will be able to grasp the sometimes-ravaged nature at work here. Utterly commanding, Chapel In The Pines ebbs into a space where the literary meets contemporary abstract sound in absolute harmony. Includes booklet of Eugene's words. Mixed and mastered by Petit.
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CD
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LUMB 026CD
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"Long, long ago, when there was no Polish bus to Warsaw, when the Internet counted on pulses and cost a fortune, and each telephone bill in my house was punishable by a prison dinner and having to kneel in the corner on a packet of frozen peas, music was for me the most important significance in the world. I cannot remember how I came across terra.pl, where music and personal polemics never ended, and the wellspring of artistic inspiration and news beat a strong and constant stream. It was then that I came across this guy, whose erudition, humor and mind, sharp as a razor, cut adversaries with little anesthetic. This was Jacek Staniszewski, a mysterious figure, and thoroughly fascinating. I also found that Jacek founded the absolutely cult Neurobot (you won't be able to associate this name, because at that time were probably listening to Laibach or Nirvana) and he also worked as Facial Index. From the perspective of the 'eighteen, clumsy and shy' environment, AltF4, or the 'Warsaw laptop scene', this was totally hermetic and elitist, plus there was nothing there my friends would also appreciate, but the memories of those gigs where even my ankles shook due to associations with music and experiments which until this point could only be read in Machina or Bruma remain alive in me. However, I do realize that such affiliation has its own rules and can draw memories more vividly than it should. Anyway, Jacek is back in a big way, if not more, because this is his own personal work and is probably not suitable for any one of the contemporary Polish scenes. There is the same electronic goodness, without fatigued nodules or summary fashion, but his adjusting of bass and treble controls is in itself a revealing recommendation. The front cover of this CD was prepared by the modest, but devilishly talented Alexandra Waliszewska, darling of not only the southern part of Poland, but respected very much by the likes of Andrew Liles and David Tibet." - Iwona Palka
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CD
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LUMB 023CD
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Six pieces by Welsh producer, writer, and sonic overlord Sion Orgon, three of which also include his oft-found collaborators Thighpaulsandra and Gaz Williams (Underworld), among a selection of other guests and co-conspirators. Like the two albums before it, including his last one, The Zsigmondy Experience (2008), Recognition Journal is crafted from all manner of sounds and instrumentation, mostly arriving from a more abstract or avant-garde extraction. Not always easy to listen to, Orgon's music stands out for its ability to surprise. A "proper" or even acutely accessible song can leap from labyrinthine textures, assume almost prog-like proportions, and then dissolve into something far-removed from the starting point. And with his amazing production work -- the result of years of experience garnered from work with many a Welsh group from many different circles -- Orgon takes the whole notion of working the studio as an instrument to a level way beyond most of his contemporaries. Sion Orgon: piano, acoustic guitar, electric guitar, bass guitar, accordion, percussion, bronze percussion, drums, vocals, field recordings, Waldorf Microwave, DX7, DX11, Roland V-Synth, Roland RS-202, Moog Voyager, Theremin, AudioMulch, Berna; Thighpaulsandra: ARP 2600, Plan B modular, Prophet 5, Chromaphone, Zebra U-He, EMS AKS Synthi, Mach 5, Soundhack, Fenix, RMI organ, reed organ, piano organ, piano, vocals; Gaz Williams: bass guitar, Waldorf Streichfett; Lara Ward: violin, piano frame; Chey Davies: mandolin, percussion; Valiant Thor: trumpet, electric guitar; Etien Hunter Davies: percussion; Jonas Gruska: text; Rob Greensmith: text; Eddie Ladd: text. Cover photography by Lenny Hawkins. Sleeve design by Mat Wigley. Mastered at Digitalflesh Mastering. Digipak CD limited to 300 copies.
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CD
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LUMB 024CD
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Lumberton Trading Company presents Here Begins the Great Destroyer, English multi-instrumentalist and songwriter Nick Mott's second album under his own name. Mott, previously known mostly for his work as a founding member of the eclectic group Volcano the Bear, has, since his departure, been forging a path very much his own. A couple of other projects aside, namely Skeleton Birds and the Number of God and Spectral Armies, Mott's work under his own name commenced in 2011 with a one-sided 7" art package also released on Lumberton Trading Company (LUMB 006B-EP). Similar to his drawings and photocopied collages, Mott's music beams in from some kind of distorted or fractured reality, reminiscent of the twilit places explored by the likes of H. P. Lovecraft. The ten pieces on Here Begins the Great Destroyer bear witness to a world of unfolding electronic textures, uneasy tones, rhythmic bursts, and a general sense of things not being quite as they seem. However, this is no dark ambient muck. Instead, it rather uncomfortably resides in a space out of which Renaldo & The Loaf, Tuxedomoon, Nurse with Wound, and Andrew Liles have all crawled. Of course, there is a crooked humor evident, too, as no artist can truly traverse such places without it. Here Begins the Great Destroyer is the first step towards what will, in due course, become a deluxe vinyl box set also containing an art booklet by Nick Mott. In the meantime, this album exists in its own right as a Digipak CD, which is limited to 300 copies and will not be reprinted. Mastered by Siôn Orgon (former collaborator of Thighpaulsandra and Peter Christopherson).
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LP
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LUMB 021LP
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The fourth entry in the series of six 12"/MLP releases. Brian Conniffe is a cross-genre, experimental musician who has worked with a long list of collaborators including Nurse With Wound, notable for a style which fuses the darkest psychedelia with disquieting ambience. Suzanne Walsh is a visual artist and musician, whose practice involves musical collaborations with various artists as well as her own solo artistic work, which crosses over between art and music worlds. Never sure what he should be wearing, polymath Diarmuid MacDiarmada has been working in and around the Dublin music scene for far too long. He has been in more bands than he cares to remember and several that he tries to forget. This features five songs of a strictly twilight hue, merging beauty and those subtle spaces where it appears poised to collapse at any given point. Guest appearances on "Holy Ground" from Áine O'Dwyer, Clodagh Simonds, and David Colohan. "Not the Night" features a treated sample from the Coil Reconstruction Kit, used with permission. Thanks to Jordi Devas and Danny Hyde. Dedicated to the memory of Jhonn Balance and Peter Christopherson. Covers are semi-homemade with pasted-on artwork by Dolorosa Delacruz. Limited to 250 copies.
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CD
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LUMB 022CD
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When Michel Banabila and Rutger Zuydervelt (Machinefabriek) finished their first collaborative album, it felt like they were just getting started. Surprised by how fluent and natural their collaboration went, it was obvious that this wasn't over yet. Banabila & Machinefabriek was quite an abstract affair. It's successor, Travelog, is lighter, more playful, and rhythmic. Some moments recall the mighty Tape, while others showcase motorik Krautrock influences and subtle hints of African rhythms. All in all, this album clearly radiates the joy of its creative process and sees Banabila and Machinefabriek on top of their game. Travelog comes housed in a full-color digipak, graced with photography by Michel Banabila, designed by Rutger Zuydervelt. It's released by Tapu Records, in collaboration with Lumberton Trading Company.
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LP
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LUMB 018LP
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The third entry in the 12"/MLP subs series. In early September 2011, Theme, the Poland/UK-based group centered around Lumberton Trading Company's very own Richard Johnson (ex-Splintered, Husk, etc.) and Stuart Carter (ex-Splintered, The Fields Of Hay, ex-Heroin, etc.), went into a Budapest studio with their good friends Zsolt Sörés and Jean-Hervé Péron (aka Art-Errorist of influential German group, Faust) for two whole days. The main piece, entitled "Poison Is (Not) The Word," pays witness to Theme branching into territory probably closer to their work as Splintered (i.e., their Moraine LP from 1996, which featured Jim O'Rourke source material on one side). Stretching over 24 minutes in length, it remains anchored to Theme's tendency for psychedelic drones and textures while Zsolt applies improvised electronics and viola to them and words are either chanted or spat out over the melée. A saxophone, added by Zsolt Varga, then completes the sprawling "brink-of-chaos" feel perfectly. On the other side, are two pieces also spanning over 20 minutes between them. The first, "Baszd Meg Az Apád!" (trans. "Fuck Your Father!" in Hungarian), begins misleadingly as a mass of atmospheric swirls, cavaquinho plucking, textures, psalterion, and sax until Jean-Hervé cuts in with some shouted vocals as effective as they are brief. The second, "Puszta Psycho," is built around a tempered refrain of cavaquinho string picking led by Jean-Hervé then welded to subtle touches of hissing electronics, psalterion, space clatter, sax blasts (courtesy of Varga), subtle textural plumes, indiscernible knocking and scrunching sounds, Jean-Hervé's vocals and buried chanting by Richard Johnson.
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7"/CDR
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LUMB 006B-EP
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Solo pieces by Nick Mott (ex-Volcano The Bear, Spectral Armies, etc.). Originally released in 2011, this is the second edition, now including a bonus professionally reproduced CD-R featuring some bonus previously-unreleased material. The 7" is one-sided. Limited edition of 150 copies.
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CD
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LUMB 019CD
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Latest album from the Czech Republic turntablism/electronic drone/static hum duo given to creating sometimes disquieting yet always filmic pieces. Also includes a live video clip on the disc. Joint-released with Birds Build Nests Underground's own Love Nest imprint in an edition of 300. Packaged in a 4-panel digipak.
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12"
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LUMB 016EP
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Lumberton Trading Company presents the debut release, Never Force A Left Handed Child To Use Their Right Hand, by solo artist Andrew Ainslee Dewar, a UK-based composer who creates atmospheric music from textures, tones and gentle oscillations with a somewhat melancholic or reflective slant. These three tracks add up to over 30 minutes of music, plus features the late Jhonn Balance (Coil) on the piece "Manifesto," delivering a rarely-heard reading of the Coil Manifesto, which was first broadcast on Holland's VPRO station.
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CD
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LUMB 015CD
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Severe Insomnia -- the second release by New York-based experimental composer Hannis Brown and his first album for Lumberton Trading Company -- is a spine-chilling and unpredictable rollercoaster-ride of a listen. The 11 instrumental tracks run the gamut from musique concrète tape collages and electroacoustic composition to works for chamber ensembles, orchestra, and solo prepared guitar. Inspired by the meandering and disjunct images that manifest themselves on the backs of eyelids during bouts of insomnia, the music is charged with an instability marked by atonal explosions of saxophones, sedate interludes of electronic and orchestral textures, and nightmarish climaxes of tone clusters.
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CD
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LUMB 011CD
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This is the third release from the UK's finest exponents of melancholic experimentalism, Human Greed. In addition to the band's core membership of founder Michael Begg and his main collaborator Deryk Thomas, Black Hill: Midnight At The Blighted Star features well-poised contributions from special guests Julia Kent (Antony & the Johnsons, Blind Cave Salamander), Fabrizio Palumbo (Larsen, Blind Cave Salamander), David Tibet (Current 93) and Clodagh Simonds (Fovea Hex, Mellow Candle). Although in many ways far gentler than previous Human Greed albums, Black Hill packs a significant punch. Part nightmare train journey to a bruised and foreboding underworld, part voyage beyond the alluring tails of shooting stars to an aching void of longing, this album may prove to be the band's sullen masterpiece. Processed electronics, treated acoustic and electric instruments and numerous field recordings are eloquently arranged to present a composition as satisfying in its formal arrangement as it is breathtaking in its emotional impact. Although possessed with a very individual sound, Human Greed's sounding notes may draw comparisons to the timeless, stretched melancholia of Stars Of The Lid, Black Light District-era Coil, Nurse With Wound's less whimsical moments, William Basinski's evocations of lost time and romantic despair and even Brian Eno's ambient work. None of this, of course, accounts for the ever-present, unsettling air of cruelty and, occasionally, latent violence, that adds a singularly dark note to their work.
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2CD
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LUMB 008CD
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"This double CD set catches legendary German experimental rock outfit Faust's debut concert in Poland, from Krakow's Loch Ness Club, on the 15th November 2006. Spread over both discs, we are afforded a perfect opportunity to hear a blend of the band's classic songs and material previewed from their new studio album played energetically and with a vigour reflecting precisely how happy they were to be in a completely new environment which, in turn, welcomed them with open arms. The entire concert was recorded and mixed professionally by two of Poland's most experienced sound engineers, Piotr Papier and Marcin Cheblowski. The release itself also arrives courtesy of Poland's AudioTong label, with whom it is shared and wouldn't have happened without."
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