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viewing 1 To 3 of 3 items
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LP
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NUT 004LP
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For The Colleagues Of Ubu & Their Authorities is the brainchild of Vienna-based vinyl enthusiast, DJ, and producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde, or modular music, which also reflect his own versatile musical taste. The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of "The Hunting Owl" into a monstrous percussive live version. Taken off the debut album from one of Poland ́s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziołek, "Wrens" is a fusion of folk, jazz and modern minimal music. Experimental pop musician and filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early '70s in Germany, delivers a modular synth masterpiece with unique sounds, textures, and a far-out synth choir. Rock and ambient influenced musician Helen Money (aka Alison Chesley) is a Los Angeles-based cellist and composer who appears with a massively dark post-rock song called "MF", which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic "Young Free & Parasite", with references to British glam, post-punk, or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ́s Christoph El Truento, inspired by post-punk and noise. "Visitors" is simple and simply in your face, with lo-fi drums, distorted synths, and raw vocals. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Oceaneer, aka Japanese pianist Oneechan Nanashi, completes the compilation with her beautiful and profound composition "The Sea, Forever".
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2LP
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NUT 005LP
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"... Vitor Araujo is one of those [artists] capable of articulating the Brazilian and world-wide classical music avant-garde with the undisputable artistic conquests of experimental-pop music of his time . . . His diverse musical formation, the forms of urban, popular, and folk music, related to his hometown (one of the greatest focal points that congregates the indigenous, European and Afro-descent people in Brazil) and the rest of the country, pervaded the aesthetic formation of the artist. This is verified even in his first works, in his debut album Toc (2008) and A/B (2012). Now, in his third album, the traditional candomblé rhythms reveal the perfect harmony between his influences both classical and electronic. The sources bequeathed by Heitor Villa-Lobos and the instrumental slope of his spiritual disciple Tom Jobim; the timbre and acoustic experiments of Gyorgy Ligeti; the cyclic narrative possibilities opened by Steve Reich; the remodeling of sound manipulation tools by Karlheinz Stockhausen; are related not only to the vanguard of electronic music but even to the rhythmic and vocal expressions of Brazilian music . . . It is not possible in this work, called Levaguiã Terê, to trace a final frontier between the classical and popular experiences, among the track list or even internally in the tracks. In terms of genre, the album could even be classified as eletro-acoustic, since this compositional school operates easily with organic and synthetic instrumentation. However, the great orchestral writing, the heavy percussion element, the instrumentation and counterpoint elements, the harmonies and vocal arrangements, and the thematic and phraseology marks of the composer wouldn't be designated to justice by this genre denomination. For the same reasons, the elements of electronic music, that subvert and act over the acoustically recorded material are mostly ordered by the pop music model, and not the classical ones, this last one not antagonizing the first. Thus, Levaguiã Terê is inserted in a disruptive way in the phonographic industry's current streams . . .It is possible to risk saying that this language and sound aesthetic hybridism born in Levaguiã Terê seems to yearn the utopia designed by Alex Ross in his 2004 article Björk's Saga. The utopia 'of a future world in which the ideologies, teleologies, style wars, and subdivisions that have so defined music in the past hundred years slip away.'" --Sílvio Moreira, M.A. in Philosophy, Professor of Aesthetics at the Faculdade Souza Lima & Berklee College of Music
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12"
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NUT 003EP
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A 12" from London spiritual jazz outfit Emanative. "Planet B" is the band's first release of the year and it takes them in a slightly different direction, on a completely different vibration entirely, with an epic nine-minute, almost post-punk, Afrobeat, disco, and jazz inspired piece aimed at the leftfield dancefloor. The idea for this project grew from our interest in releasing the live version of the Ahmed Abdullah-written "Lions Of Judah", which appears on the B side and was recorded live at London's famous Cafe OTO. "Planet B" features Liz Elensky.
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