We Acediasts - We Acediasts
Forming during 1997 in Providence, Rhode Island experimental group Black Dice have without question paved their own way through their 20 year career. Doing what you want to do when you want to do it, no questions asked with a fully informed yet blatant disregard for everything surrounding them, always with acute execution and an ever changing singular sound. No gimmicks, no nonsense, since the beginning.
Somehow it would only make sense for Dice and L.I.E.S. to link up and after a long friendship we see it come to fruition. With this two track 12 inch Dice put their foot on the gas and ramp it up. You wanted to shred? Well this shreds. Is it a snapshot of the past? A possible nod of things to come? A moment frozen in time? We leave it for you to decide.
The LP that made us fall in love with this band! Recently repressed by Vermont's amazing NNA Tapes, pick it up before it's gone again!
"Brand new full-length from Brooklyn's Guerrilla Toss. Unbridled and demented noise rock with heavy doses of technical hammering , extreme musicality, and heaps of perverse funk. Complex composition mixed with raw punk energy make Gtoss one of the most refreshing young bands out there. Ride the guerilla!"
LIMITED EDITION WHITE VINYL
Containing all new studio recordings Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Colk Void (Factory Floor) expand and explore onward from their critically acclaimed 2012 debut album ‘Transverse'.
Featuring their distinctive metallic guitar sound, distorted vocals, resounding bass lines and electro industrial rhythms this music is not for the fainthearted.
The vinyl album has five tracks and comes with a free digital download code.
f (x) will be released worldwide by the legendary Industrial Records label (home of Throbbing Gristle since 1976).
The tracks that lead to DFA falling in love with the Toss! Originally released as a cassette tape, now on one-side 12" format from Massachusetts' lovely Feeding Tube Records. Their words below - but please consider this very highly recommended.
"Vinylization of a recent Infinity Cat cassette, 367 Equalizer is a one-sided slab of belligerent art damage. The feel of this session is more tempered than that of their wigglesome debut LP, Jeffrey Johnson (as well as their second LP, which shall go nameless). The discordian elements of post-no-wave edge and Brooklyn basement glue party remain, but some of the looser jags have been hauled in and buffed like a fine pair of loafers. This is still definitely the sound of young people, but not in a way that grates on my old man’s sensibilities.
One of my favorite prog albums was recorded by Pete Brown’s band, Piblotko, and it’s called Things May Come and Things May Go, But the Art School Dance Goes On Forever. The sentiment expressed by that title inhabits the music here. It acknowledges a variety of parallel continua, while adding a fresh layer of creative loam that will surely be plundered by subsequent generations of brats. It’s an endless worm of processing and renewal, and only time will tell if this Boston quintet ultimately manages to survive the rigors of the eat-and-be-eaten dictates of the form, but this is a damn good effort. It will be sure to please those amongst us who are still young in tongue, even as we become long in tooth. – Byron Coley, 2014"
Syclops is trio Sven Kortehisto, Hanna Sarkari and Jukka Kantonen. First to appear on a Bubble Tease 12 in 2001, followed by two singles for Tirk and finally with the debut album 'I've Got My Eye On You' on DFA in 2008. 'A Blink Of An Eye' is the long awaited successor with 10 tracks of future funk. Ranging from the nastiness of 'Jump Bugs' to the fragile beauty 'Ray & Claire' it's classic Syclops all the way. Available double LP via Running Back and produced by Maurice Fulton.
|B3||Got To Get Up For Monday||5:58|
|C1||Sarah's E With Extra P||5:52|
|C2||Michele's H With C||6:18|
|D1||Raj & Claire||6:04|
|D2||Back When Lynn (The Classic)||5:59|
|D3||A Blink Of An Eye||6:19|
*PLEASE NOTE all remaining copies are in great condition, but contain minor surface wear n tear from storage.
Fulton's been pursuing BOOF on and off over the past 15 years, and the flower-themed project houses some of his prettiest work. His instrumental and production prowess has never been in question, but The Hydrangeas Whisper ups the bar, marrying dubby synths and free-flowing guitar improvisation, dipping and diving in and out of various genres. The Hydrangeas Whisper feels like a culmination of sorts, the best of a grip of albums Fulton's issued over the past decade. He's beat the house LP problem by making something that feels like a DJ set, with stylistic leaps and no breaks between tracks. In fact, his intricate sound seems natural for this format. In a climate where scores of anonymous producers are handing in equally indistinguishable tracks, Fulton's carving out his odd, incredibly personal path.
Al Anon concludes Eric Copeland’s two part album entitled Alien In A Garbage Dump (available on CD from Paw Tracks). Where the first half offered a discombobulated collection of radio cross-signaling, here the alien finds its groove for a minute and tidies up the frequencies. There is still something outsiderish here, but with more of an effort to get inside, to play by the rules even? Or maybe the motivation is to sneak something subversive into the norms’ hideout?
Since Al Anon was recorded at the same time as two Black Dice albums, there are obvious parallels in the results; an uncompromised sonic landscape. But outside the group setting, Copeland has found places one can only find alone: small inner dialogues and isolated mind caves where an idea may only last a moment. He captures and tweaks these ideas into fragments of many memories; a déjà vu record déjà vu record. Funny characters drop in and out. Songs come and go. Al Anonproves to be a strangely curated time capsule of OUR time right NOW; music where birds beat-box with car-stereo subwoofers and the neighbors’ Espanol sings on top the Sabbath siren. With all this going on, Copeland sometimes disappears into the anonymity, playing a ‘behind-the-scenes’ role, pushing cords and pulling buttons, laughing because the batteries are dying. Here the familiar becomes mysterious and the unknown feels normal and we can listen to this one all day trying to make those distinctions.
Edition of 500 copies with jaw-droppingly amazing black and white collage artwork by Copeland, screenprinted by VG Kids.
Limited private stock of ten 12" singles.
1) Heart Of Data (soundtrack edit)
2) Babel (soundtrack edit)
"Factory Floor are the latest to do that electronic musician’s rite of passage; re-scoring Fritz Lang’s silent cinematic landmark Metropolis, with results shared on the 1st release thru their H/O/D Records.
After shedding a member and regathering thoughts, FF’s Nik Colk Void and Gabriel Gurnsey reveal a sleeker new sound here, easing off the brittleness of their earlier releases with more smoothly contoured, malleable designs for dancefloor fluidity.
Heart Of Data (Soundtrack Edit) is the more ‘floor focussed cut, working skittish, latinate drum trills in and around arcing synths in a way that smartly conveys the futuristic architectural designs and themes of their subject, especially when their vision really comes together in the final third. s
On the other hand, Babel (Soundtrack Edit) finds them working with almost Cumbia or Dembow shuffle on an elastic meter, sounding like techno on 33 not 45, and embedded in tactile, sticky bed of phasing synth washes for the 12 minute duration." - Text provided by Boomkat.
*LIMITED TO 10 COPIES IN THE DFA STORE. Ships Immediately.
Factory Floor unfold their full length live score to Fritz Lang’s seminal, silent 1920s sci-fi ‘Metropolis’, which they previously performed live at the Science Museum’s IMAX in April 2017, coinciding with the film’s 90th anniversary of release.
With over 150 minutes of the film to soundtrack, Gabe Gurnsey and Nik Colk Void a.k.a. Factory Floor cover a lot of bases, from tense greyscale ambient to needling electro and pulsating techno and industrial minimalism, often in the same track, which scale from tense, 3 minutes themes, and up to a 20 minute-long tract of woozy slow electro. (Text via Boomkat)
*copy provided by Soma Records*
Various Artists | SOMA500 – Slam Remixes
1. Robert Hood – The Bond We Formed (Slam Remix)
2. Robert Hood – The Bond We Formed (Slam’s S25 Retro Fit Remix)
3. Delia Gonzalez & Gavin Russom – Relevee (Carl Craig Remix/Slam Rework)
Slam have remixed Robert Hood and Carl Craig For Soma Records 500th release.
Soma500 is a very special release that sees label heads Slam visit two memorable tracks for them over this past anniversary year. The duo of Stuart McMillan & Orde Meikle rework Robert Hoods, “The Bond We Formed” - taken exclusively from the Soma25 compilation and a track that has featured highly in countless sets, a unique Slam rework of Carl Craig’s interpretation of Delia Gonzalez & Gavin Russom’s, Relevee.
One of the most sought after tracks from this year’s Soma25 compilation, Robert Hood’s jacked up ‘The Bond We Formed’ is given two unique remixes from Slam. The first remix brings elements of Hood’s original drum workout together with Slam’s spacial sequences. The second remix sees the pair go retro with an homage to the minimal master, utilising proper 90s tripped out tonality.
The B-side brings together the minds of Detroit’s Carl Craig and Slam as the Glaswegian pair rework Carl’s remix into a full on Techno anthem. The instantly recognisable synth work plays the major part with thunderous percussive work helming the backbone of this monster as it swells to a rapturous crescendo.
"Hermaphrodite" is a solo record comprised of samples, field recordings, vocal loops and drums that transform your brain from mellow to engaged to confused to greatly pleased. Tribal rhythms and noises that get you feeling slightly stoned, in a good way. CD version released on Paw Tracks. Eric Copeland is a super nice guy who is always pushing sounds in BD and on his own and "Hermaphrodite" is a testament to his ever pressing need to push audio boundaries. text taken from Post Present Medium
2. La Booly Boo
4. Green Burrito
5. Wash Up
7. Tree Aliens
8. Scum Pipe
"NPVR is the moniker taken on board by PITA AKA Peter Rehberg and Factory Floor’s Nik Void. 33 33 is their debut recording. Peter and Nik both share formidable reputations in the post industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavours over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise etc
33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private." - Editions Mego.
All tracks by Nik Void & Peter Rehberg
Recorded and edited at The Premises, London, July 2017
Mastered by Russell Haswell at Haswell Studio, London, August 2017
Cut by CGB at D&M, Berlin, September 2017
Artwork by Nik Void
Photogrpahy by Georg Gatsas