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viewing 1 To 4 of 4 items
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LP
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LPNUY 010LP
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Sons of Viljems are a London based duo, comprised of Andrea Giommi (guitar, vocals) and Nejc Haberman (bass, synth). With a measured pace in a world of relentless acceleration, they have released six carefully crafted songs over five years on Sas Recordings and Fang Bomb Records. In contrast to bulk editing and standardization, Sons of Viljems meticulously chisel every song to its last detail. After years of concerts, collaborations, and sporadic releases, the band has now curated 42 minutes of music for their debut full-length album Lithospheric Melodies. This collection is a fusion of minimalistic bass-guitar sessions and collaborative efforts with external musicians, each contributing their unique touch to the compositions. London jazz drummer Tim Doyle, also known as "Chiminyo," records the album and plays percussion on every track. Other notable contributors include Filip Sijanec on synths and drum machine, Laura Loriga lending her vocals on two tracks, Elisa Ridolfi with a range of evocative and possessed Goblin-Morricone like vocal patterns, Matjaz Mlakar sprinkles the album with inventive saxophone solutions, and Agathe Max adds her viola touch to three tracks. The album is mixed and produced by Jean-Gabriel Becker of Becker and Mukai. Lithospheric Melodies is a dynamic, dreamy, obscure, eerie and evocative collection. It navigates through dub bass lines, it suggests jazzy/world music atmospheres, echoes, reverbs, touching melodies and relentless grooves. The album paints a vivid sonic landscape, reminiscent of a collaborative session between Goat and Khruangbin, evoking influences from the likes of Robert Wyatt, Coil, Labradford, Arthur Verocai, Mulatu Astatke, Os Mutantes, This Heat, Ennio Morricone, and David Axelrod. It is the band's first release on Disasters By Choice Records.
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LP
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LPNUY 006LP
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Pleasure is a Sydney based music project that utilizes distorted synths, irregular drum beats, and fluid song structures to create energetic and hypnotic pieces that straddle the line of bright and abrasive. The trio is comprised of Adam Connelly (synthesizers, vocals) Jonathan Boulet (bass guitar, fx pedals), and Hugh Deacon (drums). When playing live and on record, their music is improvised and unrehearsed with no laptops or backing tracks. "One of us will introduce an idea and the rest will follow." Their debut LP, Saint Albans, was conceived and recorded in a small farm house in the town of Saint Albans, New South Wales, over three days from the 12th to the 14th of October 2019. The building has since burned down in the 2019 Australian Bushfires. "We came away from this session with close to 20 hours of material that we edited down into consumable pieces." This is the case for all tracks except "Brain Waste" which was left intact and unedited. They launched the Australian release of the album by playing a six-hour endurance set in a warehouse in Sydney's Inner West. "Our sonic influences seem very obvious but we haven't been called out yet. Mainly Boards of Canada, Black Moth Super Rainbow, Aphex Twin, Fuck Buttons, Blanck Mass, and Lightning Bolt." File Under: electronic, hauntology, Ghost Box. Edition of 350.
"Condensing down a mere 20 (!!!) hours of material recorded unrehearsed and improvised over the course of three days in October of 2k19 into nine tracks of 38 minutes total playtime the project caters a playful, warm take on what might be best described as triphop/dopebeat-infused live electronica with a well organic twist, partially drifting into complex and haunted polyrhythmic territories like in 'Be Yourself Harder' with its ever spiraling, captivating low-end and heavy drum explosions or the clearly dub-infused 'Taste Mouth' whereas the dark'ish, nightly 'Breathe In' brings associations like Morr Music, Jan Jelinek as well the Moritz Von Oswald Trio to mind"--Nitestylez, Germany
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LPNUY 007LP
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Disasters By Choice release Voltaje Raizal, the first album of the tropical futurist music project Rizomagic. Rizomagic is an electronic music duo, that consists of Diego Manrique, director of the avant-garde cumbia orchestra Niño Pueblo, and Edgar Marun, director of the ethno-Afrobeat ensemble, Dorado Kandua. Two outstanding projects from Bogota's new thriving alternative psychedelic scene. The sounds of the album are rooted in the Afro-Caribbean musical tradition, in the mixed ancestry that defines Colombian culture, and IDM. The melodic construction of the album takes inspiration from various cultures, including indigenous chants from Colombia's Embera people, the traditional scales from Mali's Bambara ethnic group, and the Ghanian palm wine guitar interpreted by a Caribbean millo flute. The mix and master were carried out by Eblis Alvarez (Meridian Brothers, Pirañas, Chupame el Dedo) and Camilo Manchego offered the final touches that make Voltaje Raizal a fresh proposal to Colombia's futurist tropical scene. "Rizomagic set out to recontextualize their sources. It's no coincidence that their name comes from rhizomatic, the botanically derived term for a subterranean, horizontal network of roots." Rizomagic remixes of both La Palabra and Truequeo. Edition of 350.
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LPNUY 005LP
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Disasters By Choice presents Tapes, the debut release from Sicilian sound artist Skrima. Skrima on the release: "Ever since I was a child, I have been fascinated by the far off, faded, almost muffled sounds, melodies and harmonies coming into my room from outside sources. I would record these sounds, with a recording device and microphones of various quality levels, and then modify them with various effects over many years; this was my secret passion. I called this kind of work, with those old tapes, 'the sound from next door, or, the neighbor's sounds'. Over the years, the instruments I use to complete the sound layers haven't changed; I continue to use various defective Casio keyboards, a semi-acoustic Hofner bass, a myriad of effects and cables, and an old analog, multi-effect EKO multitone from the 1960s. Listening again to the tracks for the finalization of this album, it was interesting to see that my conception hasn't changed over the years, despite my exposure to many kinds of music, from all different genres and times." All the tapes were recorded between 1981 and 1983, whereas the added effects and mixing on four tracks was done between 1983 and 1986, with all being reworked in 1999. Issued here on white vinyl, with a special cover incorporating volcanic ash; Edition of 200.
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