Nashazphone is an Algerian/Egyptian record label based in Cairo with an eclectic focus spanning mutant jazz, punk, noise, psychedelic, and experimental works from worldwide artists such as Sun City Girls, Matthew Bower (Sunroof! and Hototogisu), Smegma, and Blood Stereo. On a local level, the label is issuing vital live and studio recordings from the contemporary Egyptian scene including the debut release of synthesizer maverick Islam Chipsy. A striking attention to aesthetic and artistic detail has yielded a crucial catalog of vinyl issues on Nashazphone since 2006.
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NP 046LP
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[sold out] Four years after his groundbreaking debut, 1127 returns with a second LP which departs from the previous abstractions to a distinct variation of new morphs of early twentieth century Egyptian music to contemporary electronic music. All composed within their brand of (mostly) computer-based, broad sonic productions. Also featuring Premise & Cult Of Z Cheeky Yet Chic, Concrete Shapes, اعیش في جلباب اب ي, Transient Pleasure & Siliconvalidity.Io, Minusdesire, Caironomixx, صفوت), Conclusion, and Emna Maaref & Mounir@.
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NP 050LP
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[sold out, no repress] Don King was the mid-'80s band from Mark Cunningham (post Mars), originally formed to play Thurston Moore's Noisefest at White Columns in 1981. The six concerts tour in 1986 were the last European appearances of the New York no wave band Don King, starting in Padua and following a wide arc around the Mediterranean, by train, through Switzerland over to Toulouse (France) and then down to Barcelona (Spain). The original cassette was a selection of the best live recordings released by the historic Barcelona collective 4sellos. Featuring Lucy Hamilton (bass clarinet, guitar, vocals), Arto Lindsay, Duncan Lindsay, Toni Nogueira (percussion tape), John Erskine (producer, percussion tape), and Mark Cunningham (producer, trumpet). Photography by Catherine Ceresole.
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NP 048LP
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Regler resume their series of genre dedicated concept albums following 12 releases which focused on metal, harsh noise wall, techno, free jazz, no wave, blues, classical music, minimalism, ambient, and more. The duo of Mattin (Billy Bao, Josetxo Grieta) and Anders Bryngelsson (Brainbombs, No Balls) are joined on this new chapter by the unique Anla Courtis (Reynols). Devoted to noise rock, a genre in which all three artists had significant contributions. This new instalment follows the same guiding principle previously adopted of stripping down a genre to its bare essentials. Here they capture the essence of noise rock over two minimal, unrelenting, motorik and hypnotic pieces.
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NP 051CD
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Staggering new chapter in Unglee Izi's Musique de l'A.S.M.A. journey. Two 70-minute-long compositions make up this major milestone in the French artist's ever widening sound exploration. Unglee Izi's mastery of textures and precision along with his singular DIY sound architecture offer an absolute work of deep emotional electronic soundscapes, piano and organ. This is delicate music of savage finesse that only wants to address the stars and nothing else. Lose yourself.
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NP 042LP
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Reissue of Amon's seminal 1996 debut dark ambient album augmented with three tracks from the same sessions. Since the mid '90s Andrea Marutti has been crafting his own blend of mind-expanding soundscapes, creating a strong sense of ancient mysticism and time travel with his Amon project. His mesmerizing recordings of drones and tones, presented as a careful form of resonant minimalism pregnant with cavernous sounds and slow movements, reverberations and drifting elements, have always been intimately distant from the aesthetic form of dark ambient music which they have often been hastily associated with. Taking inspiration from the mysteries and rites of Ancient Egypt, along with the vivid suggestions offered by Peter Kolosimo and other writers of the so-called Pseudoarcheology current, after his debut on Murder Release in 1996, a few CD albums -- mostly released by Eibon Records in Italy -- and a 7" on the German cult label Drone Records, were enough to consolidate Amon as a pillar among deep listeners. Finally reuniting all the music Marutti spontaneously created in a short period during the very first Amon recording sessions, and bringing it to vinyl for the first time, Akh is a ticket for a trip back in time, a musical universe rich with impenetrable scenarios, a driving, grey space of ever-increasing numbness resounding all around and inside the listener. In Ancient Egypt, Akh was most often used to mean a complete person, whether living or dead. While living, the Akh was composed of all five elements -- The Body, Ba (the personality: humor, warmth, charm), Ka (the life force unique to every person) which stayed, The Name, and The Shadow. When dead, the Akh referred to the reunion of the Ba and the Ka, which they also believed happened each night. In death and every night too, Akh is the reunion of the self. Mostly lacking any flash of light, the tracks featured on this collection open a subtly esoteric universe, which rises up out of the desert, leading through a profound and introspective path with their sonic stimuli, plumbing the depths of the unconscious with a hypnotic, mystical and arcane flavor. Perfect to listen to during the late hours when distracting factors are few and the music may join forces with the night itself. Will appeal to fans of Roland Kayn, Thomas Köner, Éliane Radigue, deep listening, minimalism, and isolationism alike. Edition of 250.
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NP 043LP
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Paris Noise chiefs, Sister Iodine, return with Hollozone. Their seventh album and second on Nashazphone following the 2018's double album, Venom (NP 028LP, 2018). Erik Minkkinen, Lionel Fernandez, and Nicolas Mazet have represented the cutting edge and vanguard of French noise since the nineties and yet remain as radical and uncompromising as ever. With Hollozone, the group manages to confirm the sound and spirit intensity which perfectly embodies their unique world of controlled chaos. It is with the advent of the 21st century -- more than ever -- that the decisive path of Sister Iodine has taken a fascinating route. From their debut album, ADN115, released in 1994 which was strongly influenced by the original New York no wave scene (Mars, DNA, Red Transistor) to their more recent works which have been augmented by "newer poisons" such as black metal, or the most abrasive end of industrial music and power electronics, or experimental electronics (Editions Mego reissued an extended version of Flame Desastre (DEMEGO 009CD) on CD), the band has managed to survive through the decades, from the inhospitable French squats of the nineties to nowadays' established venues and proper tours. Today, the band's music has changed recipients and has attracted younger generations with their organized radioactive chaos while never conceding anything from their initial intensity. Over the years, Sister Iodine would have also created their own idiosyncratic language, for which sound exploration matters and pure beauty seem to count as much as pure explosive ferocity, while intense violence and energy gets deployed in live shows. The last few years witnessed an increasing number of collaborations such as the recent sessions with Meyhna'ch (Mütiilation) or the ones with Masaya Nakahara (Violent Onsen Geisha, Hair Stylistics). Hollozone offers a track featuring the vocal contribution of Stephen Bessac, the deviant front man of the cult French hardcore band Kickback. Sister Iodine produces today a music that is actually unique and unheard anywhere else. One of eternal youth and audacity. Edition of 200.
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NP 045LP
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Last copies/reduced price, all remaining copies have minor bumped corner shipping damage; sold as is. A compilation of contemporary Italian tape electroacoustic and musique concrete artists featuring Valerio Tricoli, Mercury Hall, Ezio Piermattei, SEC_, Giovanni Lami, Giulio Nocera, kNN. Edition of 200.
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NP 044LP
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A central iconic figure in the ever-thickening Cairo underground electronic scene, ZULI has crossed borders years ago with a relentless international touring schedule and releases on Lee Gamble's UIQ as well as Haunter Records, now considered as flagship works. His meticulously crafted sound, located at the crossroads of IDM, hip-hop, jungle, and more has never stopped developing. It is characterized by power, precision, and very elaborate arrangements. Digla Dive - Live is an additional step further in his extended quest where studio compositions are constructed in a live setup spirit. "Alteration Jump" features Elvin Brandhi and Karim El Ghazoly. Edition of 300.
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NP 038LP
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Exposition of Clove is the new fast electro-acoustic album by the duo of Matteo Castro and Riccardo Mazza. Hailing from the farthest North-East glacial tip of Italy, Lettera 22 utilize elements of musique concrete sound sources, delicately sampled, looped and edited; resulting in five very subtle and rich compositions of textured noise and field recordings via analog tapes and feedback. Recorded and mastered in 2020 by Ricardo Mazza and Matteo Castro. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
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NP 041LP
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Nervous + sensitive Egyptian synth wave with Arabic vocals by Panstarrs, solo project of Youssef Abouzeid who has previously appeared under different monikers such as Captain Solo or YZEID. This LP -- equal parts Suicide and Mohamed Mohie -- pushes Youssef's detached and melancholic signature sound along radical and unconventional arrangements further into bolder electronic horizons while pulverizing any notion of established verse chorus song structures. Youssef Abouzeid is a fixture of Cairo's musical underground and has been intensely active for over a decade whether via his countless musical acts -- of which, his personal project, Panstarrs is the most prolific -- or his homemade oscillator-loaded effects pedals "NMR". He is also a co-founder of the downtown Cairo independent art space, Hizz, and its affiliate cassette label. Through the years and incessantly, Youssef has not stopped refining his own idiosyncratic aesthetic and sound while going forward with his DIY activities and tours. Front cover by Hendrik Hegray. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
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NP 036LP
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"Sound coiled and uncoiling, the (well) spring and trap set and first trilogy concluded with three wordless hymns to the Apep serpent, and the serpent power in general. Skullflower slithers and glides through their third LP for Nashazphone, always revolving like geologic time sufis, conjuring wrinkles and portals in the multiverses stiff unyielding fabric. As Brian Wilson still might sing 'she's givin' me serpent vibrations'." --Matthew Bower and Samantha Davies West Yorks, UK August 2021.
Skullflower: Matthew Bower- Aire Delta Slide, Travis Bean Koa, Coiled Crimson Serpens; Samantha Davies: violin, Ibanez Destroyer, Descending Gold Serpens. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 333.
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NP 037LP
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Shirk is the new AOR flavored free improvisation solo album by Sam Shalabi, featuring Eric Chenaux and Nadah El-Shazly, where synth pop and sound poetry fester. Sam Shalabi is an Egyptian-Canadian composer, improviser and guitarist living between Montreal and Cairo. Starting out during the late '70s punk era, his work has evolved into an experimental synthesis of modern Arabic music that incorporates free improvisation, traditional Arabic music, noise, classical, text, and jazz. Other than his numerous solo albums, he is a founding member of Shalabi Effect, a free improvisation quartet that bridges western psychedelic music and Arabic Maqam. He has also released four albums with Land Of Kush, the experimental 30-member orchestra which he directs. He has appeared on over 30 albums and toured Europe, North America, and North Africa. Mastered by Mark Gergis. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
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NP 040LP
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Reissue of the now long sold-out debut album (2014) by the guitar and saxophone duo of Aoki Tomoyuki (Up-Tight) and Harutaka Mochizuki. Initially limited to 200 CD copies only, this record features nine, reverb drenched, mourning pieces characterized by this duo's specific melancholic language via guitar and alto saxophone. Immediately evoking the Velvet Underground inspired electric and echo filled ballads of Les Rallizes Dénudés, it is also augmented with haunting horn improvisations simultaneously reminiscent of Anthony Braxton and Kaoru Abe. Recorded at A.B.U. Studio, Hamamatsu: 2014. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.
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NP 032LP
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2021 repress. A selection of eight songs covering the period from 1979 to 1989 by one of Rai's softest voices. Wah-Wah driven, mid-tempo guitar based early Rai from the city where Rai's "harder" form was conceived. Sad romantic songs about lost loves and other sorrowful tales. Mastered by Mark Gergis. Vinyl master and lacquer cut by Frederic Alstadt - Angstrom Studio. Edition of 300.
"... In the mid-1970s, the music scene in the Oran region was dominated by groups such as Les Aigles Noirs, Choc, or The Basils -- playing mainly Western pop covers, ranging from the Beatles to French romantic songs. Then, there were also the emerging new Rai sounds, championed by Messaoud Bellemou and his troupe -- with a sound driven by trumpets and saxophones. I was 17 in 1978, when I joined Les Aigles Noirs as a 'stage animator' . . . This is how I met Ahmed Zergui. Zergui and his group, Les Freres Zergui were pioneers. They were the first to introduce wah-wah pedals and drums in Rai . . . It combined Rai, rock and jazz elements into something unheard before. It was about 1979 when Ahmed Zergui offered me to join his group as an animator . . . In 1979, I released my first cassette Jayya Arassa / Jaya Techoufi Babak on Editions Mekkeraphone with Zergui on guitar. Cheb Khaled was the rising star of Rai after releasing 'Ya Sada' and he covered my song 'Jat Jat', which helped attract a lot of attention, and resulted in many show requests around Oran . . . Ahmed Zergui passed away in 1983 . . . The group separated and we did not know what to do . . . In 1984, I began reaching out to former members of the group, such as Omar Assou, Kassem Atek, Nasser, and Houari Toubi. In Oran, I linked with the label La Nouvelle Etoile, who invited me to start recording again. We signed a three-year contract and we released nine cassettes together; the first of which featured 'Jibek Liyam' and 'Malgre Ma Dert Fiya'. Rai was progressing fast, and had started to integrate modern instruments such as Roland synthesizers, drum machines, etc... We started recording at Studio Malik in Oran, and this is where we met the true legend that was Meghni Mohamed . . . By the late 1980s, we had worked with most of the established Rai labels such as Editions Anwar, Editions Maghreb, or Editions Saint Crepain. In 1994, Kassem Atek and I considered applying quarter tones and Hijaz Maqam to the electric guitar. I was very familiar with them on vocals, but applying them to guitar was a first in North Africa. This new sound had a relatively large success, which resulted in numerous releases...." --Drissi El-Abbassi (Sidi Bel Abbes, Algeria September 2020)
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NP 033LP
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Valerie Smith (who's in fact a hairy man from Paris) presents We're Depressed. An album -- dedicated to Mark Beyer -- of intense, drugged and psychotic noise/techno that honors the emotional bleakness and naive beauty of Beyer's world of depression and degradation. Artwork by Hendrik Hegray. Recorded by Hendrik Hegray on 4-track in winter 2017/2018. Mastered by Michel Wiesniewski. Vinyl master & lacquer cut by Frederic Alstadt - Angstrom Studio
"This new LP by Hendrik Hegray's Valerie Smith project celebrates his visual and auditive practices in a way that remains as vibrant as a cut out Matisse piece which a loud wind blew out of the window into the dust, where a stray child used it as dental floss." --Dennis Tyfus (Antwerpen, Belgium September 2020)
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NP 029LP
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(((vlubä))) return with a new space drone ritual (the first on LP). A-Mu-Kia addresses an ancestral future over two sides of cosmic free sounds. Recorded and mixed at the Chrome Moon between 2017 and 2018. Artwork by Salvador Cresta.
"(((vlubä))) is an Argentinian paranormal art project founded by Müriscia Divinorum and Aphra Cadabra. Since their initiation in 2001, their ritual, cosmic, drone, and free music has been documented on recordings issued on diverse labels around the world (Chocolate Monk, Ikuissus, Pseudoarcana, Foxglove, Phase!, RootDonLonie, Musik Atlach, Buh... etc) and have appeared on numerous compilations, splits and collabs with artist such as Alan Courtis, Futurians, Uton, Michael Donelly, and many more. (((vlubä))) have appeared in several festivals throughout South and Central America: Festival Integraciones - Perú (2011), Festival los Lenguajes Alienígenas - México (2014), Hyperlocal Festival - Buenos Aires (2017), in addition to countless gigs across the multimedia and underground scenes. In 2016, (((vlubä))) has joined the visual artist Fernando 'Huanchaco' Gutierrez in the Peruvian desert of Chilca for a hypnagogic UFO show and radio transmission to space. Their entire oeuvre focuses on extraterrestrial themes, sci-fi and most importantly the essence of strong psyche-shamanistic soundscapes. THEY ARE AN ENTHEOGEN. The mountain ladies say a table snared is a table not going anywhere, so keep yr eyes and ears in that direction. Vluba know this and invite you to immerse yourself in A-Mu-Kia and check their desk of daydreams where you can listen to them building their grand gleaming design, tossing confusion upon your countenance with their own personal pattern of doofus drone soul vibration with added mercury spit pulse." --Dylan Nyoukis (Blood Stereo/Chocolate Monk), Brighton, UK, April 2019
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NP 028LP
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French noise scene spearheads Sister Iodine return with their sixth album, Venom. Active since the '90s, Sister Iodine, which involve Erik Minkkinen, Lionel Fernandez, and Nicolas Mazet, has not lost one milligram of their radical and uncompromised approach in sound exploration and limits stretching. Following two studio albums on Parisian label Premier Sang, released in 2009 and 2013 respectively, it took almost five years to shape up Venom. It is with the advent of the 21st century -- more than ever -- that the decisive path of Sister Iodine has taken a fascinating route. From their debut album, ADN 115 (1994), which was strongly influenced by the original New York no wave scene (Mars, DNA, Red Transistor) to their more recent works which are augmented by "newer poisons" such as black metal, or the most abrasive end of industrial music and power electronics, as well as experimental electronics -- Editions Mego has reissued an extended version of Premier Sang's Flame Desastre on CD -- (DEMEGO 009CD, 2009) -- the band has managed to survive through the years from the inhospitable French squats of the nineties to nowadays' established venues and proper tours. Today, the band's music has changed recipients and has attracted younger generations with their organized radioactive chaos, never conceding anything from their initial intensity. Over the years, Sister Iodine will have also created their own idiosyncratic language, for which sound exploration matters and pure beauty seem to count as much as pure explosive ferocity, while intense violence and energy gets deployed in live shows. The last few years witnessed an increasing number of collaborations such as the recent sessions with Meyhna'ch (Mütiilation) or the ones with Masaya Nakahara (Violent Onsen Geisha, Hair Stylistics). Venom includes two tracks featuring the vocal contribution of Stephen Bessac, the deviant frontman of the cult French hardcore band Kickback. Sister Iodine produces a music that is actually unique and unheard anywhere else, one of eternal youth and audacity.
"Sister Iodine's Venom is a pure and raw, energy-powered album performed like an audio exorcism. Each track contains its own intense physicality to radiate sound illuminations of light inside of darkness. Venom is a powerful album of potent spells that Sister Iodine have conjured and captured as sonic shamans." --Cameron Jamie, Paris, France, January 2018
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NP 027LP
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Amour Et Sepulcre is the debut LP by Trou Aux Rats, the new creepy and romantic basement organ project of Romain Perrot (Vomir, Free As Dead, Falot, Roro Perrot).
"The other night I dreamt about a parallel universe in which Klaus Schulze had some sort of government-paid job installing contact mics and analog synths (which I suspect was mainly to annoy Tangerine Dream) in all the big European cathedrals to 'modernize' the pipe organs. I told him how they used to make cobwebs in the early Dracula movies; you punch a small hole in a yogurt pot full of liquid latex attached to an electric drill, point roughly where you want the cobwebs to go, shut your eyes and hit the trigger. This got ol' Klaus drooling, and pretty soon every church (not to mention cemetery) ceiling in France was dripping with stringy latex goo. . . .. Reclusiveness aside, Romain and I sometimes like to meet up near Notre Dame at a Japanese restaurant run by one of the members of Les Legions Noire, serving 'necro-sushi' and so on... One sunny afternoon, sighing as he removed the fake Quasimodo teeth and the cushion stuffed into the back of his shirt, he handed me the new Trou Au Rats LP, cursing the backache which was the result of his job. 'Give this to Klaus' he said, in a deep voice a few octaves lower than usual. Now, dear reader, let me assure you, I don't know and I don't want to know what kind of entities he'd done deals with in his basement catacomb, but a few days after Klaus heard that album, Roro got to lay down his hunch for the last time, and scored his dream job as full-time organist. Mind you, dream job or not, he does still have to wear the plastic vampire fangs, somehow managing to remain the perfect gentleman, even if they do make him talk funny. Now, if you are aware of his other projects (Vomir being one), chez Roro there's no such thing as a coincidence, and there's always a lot more going on that meets the eye..." --Andy Bolus (Evil Moisture, Royal Sperm), Paris, January 2018.
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NP 026LP
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Collaboration piece between two major players in the contemporary Italian electro-acoustic music scene. Alberto Boccardi has studied composition and music theory at Milan's Music Civic Academy and has frequently collaborated with Lawrence English, Nicola Ratti, and Maurizio Abate, among others. Stefano Pilia is a prolific guitarist and electro-acoustic theorist with a massive body of work and compositions. He has collaborated with Mike Watt, Nico Vascellari, David Tibet, and Valerio Tricoli, to name a few.
"The sounding worlds of Boccardi and Pilia meet in quasi-narrative paths. Immediately, from the first glance at the tracklist, something seems to thematize the encounter in its two-faced nature: two dedications ('Bastet' and 'Dayira', the birth), each one in two parts, but also an encounter between electric guitar and percussions. The guitar being itself already an encounter between acoustic and electric sounds. Yet again, organic and electronic soundscapes are coupled down into introspection and vision. While 'Bastet' is set to follow an inner voyage along memories and ambiences where Popol Vuh and Robert Rich seem to faintly appear, it is 'Dayira' that is given the mission of projecting the inner vision into vast emotional landscapes. And at the very end something new is birthed, a minor chord that apparently has nothing to do with the drones and patterns preceding it, along the sound of the entire album. An intriguing surprise that is driven by an electronic, floating aura to a quasi-interrupted ending. Functioning as a promise that this voyage has yet to be finished." --Massimilano Viel, Milano, Italy, January 2018
"I love this new album Bastet by Alberto Boccardi and Stefano Pilia right from my first listen I decided I would go to the sea (my pedro town is in the harbor of Los Angeles) to write my thoughts about it cuz the sea is what I first thought of when I heard the first sounds of it coming -- I figured it was the sea cuz I had feelings from the music I had these sensations cuz I felt I was in the ocean -- on a boat... actually not just on a boat but in the bottom of it -- down in the bilge. The musical interaction between Alberto and Stefano is seamless and whole, free of potentially encumbering static structures. I'm drawn into the pitch and yaw, the port and starboard, the heave and ho. The piece is made of two parts ('Bastet' and 'Dayira') with each of those parts being made of likewise two parts. By the middle I feel lower in the bowels of the boat and in fact, this boat is now feeling like a submarine and so not only am I deep down up in the vessel itself, the world I feel around in is also deep down in it, deep down beneath the waves and so I feel the pushing of currents, the pressure of the depths compressing the bulkheads. On the very bottom of the hull's inside, over the keel I place my head so the vibrations can pass right the bone of my skull. The last part of the voyage for me is a surprise cuz now the sub feels more like a train. We're still moving but everything is no longer wet and there are many gifts falling into my eyes and I survey the passing landscapes. The mechanized sounds throughout the piece by now only confirm my suspicion they were only coincidences of chance and not purpose-built reels of barbed-wire to enforce fake borders. Maybe this 'railroad' in my head actually was the sea becoming a river and I got confused. Whatever, Alberto and Stefano created and preformed a whole and beautiful work that I feel we are very lucky to get to share with them. Music connected by imagination to let the spirit flow true. No wonder I read somewhere the cat-headed old Egypt deity of past was considered the guardian of the dream world. I am inspired. Grazie, fratelli." --Mike Watt, San Pedro, California, January 2018
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NP 024LP
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"'What is Normal Music?' That was the title I chose for an article some years ago and despite the fact that I was searching something else, it was difficult to find anything better to start these lines about Horizon Capiton; the new LP by French musician Olivier Brisson. Monsieur Brisson lives in Lille and has been involved not only with sound experimentation but also with psychiatry. The latter is not just a detail but an important fact here: this is a work about frames and boundaries. But who (or what) are inside/outside those frames? That's not easy to say. The sound collage brings us to a continuous flow where everything seems mixed: 'professionals' cataloguing 'mental illness', voices of 'patients', tape failures, suggestive music passages, anomalous noises, field recordings from everywhere and several rivers of sounds sailing together along with the listener. The trip is intense and compelling. Beautiful and terrifying. The horizon might be a cushion but it might be also something else. We're culturally trained to believe that something is 'normal' or not and we put a lot of effort in trying to make the world fit in those categories. But in the end who is 'normal' enough to say what is 'not normal'? This is what this record is about and Beware! Sound can easily break barriers, even those you didn't notice were present." --Anla Courtis, Buenos Aires, Argentina, December 2017
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NP 023LP
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Music For Zeitgeist Fighters is the new album by the much revered solo project of Gary Mundy (Ramleh, Broken Flag). Two pieces of intense, emotional, and purgative electronics miles away from audiophile realms. "Welcome to 2017. I'm laughing because I'm thinking of music and I'm thinking of death. Welcome to the Captagon, the room is dizzy and moving. The DJ's turntables are on fire and the heat hits me full on as I walk onto the dancefloor. Distorted sounds like the bass rumbles or high frequencies are moving from one wall to another, tracer fire and the screams of soldiers in makeshift cages. Perilous geography. Some coded references to sobbing teenagers on tape or scattered corpses in plazas. I'm laughing because of what we all must look like. You perhaps with a biro scrawled note pinned to your chest. Not taped to the front of your shirt, but actually securely pinned to your flesh. Imagine us all like that. Not fucking photoshopped or some shit like that. Maybe a painting, with flames in the distance and the howling of the dogs. Can't see in or out. Fucked forever in mountains and cellars and attics and seas. Really don't want to ruin the fun and generally I'm up for anything but this fucking shit cannot go on, can it?" --Philip Best, Austin, Texas USA, January 2017.
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NP 022LP
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The inception of an audio trilogy concerning the Darkness of Aegypt: the shadow stuff from whence dark dreams come. The Triad: dark, light and the animating serpent power are delineated by the Egyptian Gods Set, Horus, and the Apep serpent. Volume one comprises of three received transmissions from the tunnels of Set via the physical envelopes of Matthew Bower and Samantha Davies operating as the occult cell known as Skullflower. The working, the concept, and guiding hand comes from Nashazphone, purveyors of artifacts, dreams and koans, who are currently re-creating and re-writing the myths and cycles of their native land.
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NP 018LP
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5599 is a new duo featuring France's electronic improvisation giant Jean-Marc Foussat on EMS Synthi AKS and current golden boy Augustin Brousseloux on electric guitar and alto saxophone. Heureusement que le sang seche vite features 3 tracks where guitar and saxophone interplay with analog synthesizer to create psychedelic, dense and textured soundscapes of aggressive noise onslaughts and moments of bliss. Born in Oran (Algeria) in 1955, Jean-Marc Foussat played in several experimental rock groups before he started a career as a sound engineer in diverse studios which progressed towards recording live improvised music around 1979. He has collaborated with labels such as Incus, Hat Hut, Po-Torch, Rift, Rec Rec, and Celluloid where he recorded a number of songs for Bill Laswell's seminal Massacre on the album Killing Time in 1981. In 1983, he self-released the groundbreaking Abattage which deserves its position on a pedestal amidst the greatest French improvisation records. Since the 1990s he returned to playing in improvisation groups such as Marteau Rouge, alongside Makoto Sato and Jean-Francois Pauvros, and Aliquid with Sylvain Guerineau. Born in 1999, saxophonist and guitarist Augustin Brousseloux is a young prodigy currently storming the French improvisation underground. At the age of 16, he has already collaborated -- live and on albums -- with heavyweights such as Noel Akchote, Costes and Jean-Marc Foussat.
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NP 016LP
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Last copies, reduced price. "Costes has caused me so much trouble. Even today, 25 years after the last time I performed with him, I still have a hard time booking shows because he has not mellowed as I have and the venues are afraid, because of my past association with him, that there will be piss, shit, violence, genitalia, racial tension, cops, etc. Costes has caused himself so much trouble. He's been taken to court five times over his art, received countless death threats. When's the last time you can think of that ART has been taken so seriously -- as a life and death matter? And he perseveres. I think Costes is extraordinary. He ostentatiously thumbs not only his nose, but every single body part external AND internal, at any authority there is. Pas Encore Mort, a re-release of a 1997 CD, is uncharacteristically introspective, pretty, and sad. It is unsettling to see the man behind the gross warrior exposed, vulnerable, alone. I love and hate this album." -- Lisa Carver, Maine, U.S., April 2, 2016.
Born in 1954, Jean-Louis Costes is possibly France's most transgressive and independent artist. He is a musician, singer/songwriter, performance artist, painter, writer, actor and director. His highly expressionist trash style is instantly recognizable no matter which mode of expression he adopts. A unique and uncompromising artist, Costes has released over 70 albums since 1986. His songs are mostly recorded in his home studio and display very raw explicit lyrics, with music alternating between rock, pop and noise. He is renowned for his infamous "Porno-Social" Operas, which can be described as an explosive mix of live music, theater, violent actions, sex, noise, chansons, romanticism, mysticism and social issues. He has toured Europe, North America and Japan. In the late 1990s, he began publishing his own texts, and since 2003, has authored four novels.
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NP 021LP
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Last copies, reduced price. Since 2004, Èlg (Laurent Gérard) has drawn concentric sound spirals made of musical pipes and entrails. He uses an arsenal of instruments and methods, constantly renewed while building improbable bridges between musique concrete and French song-writing, cartoon-like radiophonic creations and cosmic pop as well as lo-fi Dada-esque experimentation with electronic tentacles. Èlg is half of the electronic botanic duo Opera Mort, and a third of big band trios Orgue Agnes (with the members of Kaumwald) and Reines d'Angleterre (with Jo Tanz and Ghédalia Tazartes). He's had albums released by Kraak, SS-Records, Lexi Disques, Fonal, Hundebiss Records, and Alter, among others.
?I DIG COSMIC MUSIC WITH ROCKS OFF? anathema to top 40, Èlg is the holy ghost of the new sound. his music deals with the altered state with muscle -> primed on transcendence like naked hug, the fire music of his previous duos or the zap force of his earlier Nashazphone jam ?Capitaine Present 5,? it feels hip to stay forever eternal in the house of mirrors & emerge on the cyclone. coney island baby bataille. there's a dimensionality of miracles herein, we were born on earth...as humans. Then there's Èlg, Laurent Gérard -> he's a love lodge, a sonic native. this is immersion music? climb upward, go down and deep. my fave cosmic strip here is in cool color? the rare moment on this LP when the guitar solo explodes from the narrative ripping a hole in "song.? through the planet of one voice, we hear the inimitable Dylan Nyoukis and the one and only OG Alan Bishop. these heads are perfect jam vehicles to hang with Laurent. Then there's the paramour lady Catherine Hershey, forever muse?roast tongue. brand new language, brave nu world. this grabs the tusk of Francois Tusques and rides Mother Gong, all glissando and Kobaïan. learned from Shandar and transporting with a freer range Lard Free, organic music that slays all inner city mountains, outer realm gotham. bluer than noon. contempo lone gunman exploratory moderne with the controls set to the heart of love. we're in the "Mauve Zone", where is bananafish? hearing is believing. a transport to future analog and digital dialup. call this dude, he's beyond rap. what a crazy fucking life.? -- Matt "MV" Valentine; Guilford, VT; spring 2016.
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