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Artist: BARWICK & IKUE MORI, JULIANNA
Title: FRKWYS Vol. 6
Format: LP
Label: Rvng International
Country: USA
Price: $22.00
"Frkwys Vol. 6 features four pieces composed and performed by artists Julianna Barwick and Ikue Mori as part of a month long installation curated by RVNG Intl. at White Columns gallery, New York City, NY. For the installation, a particle board cubicle was custom constructed and placed at the center of the Project Space. The cubicle wall separated Julianna and Ikue to their respective seated work stations, while stationary web cams captured the musicians at work/play and became interactive projections auto-manipulated by video artist Erik Mika, illuminating this exercise in simulated engagement. Each of Julianna and Ikues improvised performances on October 29th, 2010, were cut live to vinyl via portable lathe. Julianna and Ikue met a second time three weeks later at White Columns, November 16th 2010. This time the two musicians collaborated without an audience, cubicle, web cams, or lathe, but with past experience and spirit in place, an exercise in actual engagement. The four pieces of FRKWYS Vol. 6 include two performances from the first collaboration, and two performances from the latter collaboration. The LP is available in limited edition, packaged in thick black jackets with a two color adhesive wrap. All LPs come with a 24 page black & white zine featuring photography by Mayer and Rogac." - Rvng.

Artist: BLUES CONTROL & LARAAJI
Title: Frkwys Vol. 8
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji. Following the "fodder first" tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Controls evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraajis name came up early in that conversation and felt intrinsic to Waterhouse and Chos own musical calling. After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraajis 1979 album Celestial Vibration (recorded as Edward Larry Gordon) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album Ambient 3: Day of Radiance, produced by Brian Eno for his ambient record series, further documented Laraajis zither explorations alongside Enos soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool. Blues Control and Laraaji convened at Black Dirt Studio in upstate New York on December 9th, 2010. Over the course of a single studio day, the three musicians (accompanied on certain jams by Laraajis "musical friend" Arji Cakouros) improvised on several themes, providing nearly four hours of material and the basis for FRKWYS Vol. 8. After meticulous note taking, sharing, and rough edits among Blues Control and Laraaji, the album was fully fleshed out. Without context, its hard to imagine that these musicians never creatively collaborated before this juncture. The dynamic breadth (and breath) of the album feels both effortless and epic, a line usually straddled only after years of playing together. Its clear a cosmic force is at play, and that this playfulness is the creative mediator of the music. Over two album sides, the listener is transported from the urban sound garden of "Awakening Day," through the soulful yow of "Light Ships," into the texture bliss of "City of Love," and finally the reflective pool of "Freeflow". The first bonus track "Somebody Scream" demonstrates Laraajis dexterous zither-playing over thirty-five minutes of music, while the second, "Astral Jam," starts with a Wu-like beat (courtesy of Laraaji) and warps into a rolling snare trance. The limited edition LP version of FRKWYS Vol. 8 is packaged in thick black jackets with a two-color adhesive wrap, both printed on post-consumer goods papers at Stumptown Printers." - Rvng International.

Artist: BORDEN, FERRARO, GODIN, HALO & LOPATIN
Title: Frkwys Vol. 7
Format: LP
Label: Rvng International
Country: USA
Price: $20.00
"The full-length player of FRKWYS Vol. 7 features pieces improvised in various forms by DAVID BORDEN, JAMES FERRARO, SAMUEL GODIN, LAUREL HALO and DANIEL LOPATIN. When Lopatin (ONEOHTRIX POINT NEVER, FORD & LOPATIN) and RVNG Intl. began discussing this FRKWYS collaboration, Bordens work in MOTHER MALLARDS PORTABLE MASTERPIECE CO. and his seminal Music For Amplified Keyboard Instruments album were mutually / ecstatically acknowledged. While rooted in academia, Bordens minimalist compositions deal in natural themes, evoking expansive environments. Over two days in August 2010, the ensemble played infinitely, taking breaks only to discuss next directions, past pursuits, and, of course, gear. During tour breaks the following fall and winter, the endless hours of recordings were paired down to the selections of FRKWYS Vol. 7. The music of the album represents full session takes, edited only for time. The limited edition LP version is packaged in thick black jackets with a two-color adhesive wrap." - Rvng International.

Artist: CFCF
Title: The River
Format: 12"
Label: Rvng International
Country: USA
Price: $14.00
"CFCF treads dark waters on The River. Where the 22-year old Montreal based producer CFCFs (Michael Silver) debut album Continent (Paper Bag 2009) hinted at primal and ambient themes, The River fully transports the listener to a heart of darkness. Inspired by Werner Herzogs visual masterpiece Fitzcarraldo, The River follows a dream-like arc, lucid sound sequences from a lunatic mind. The Rivers voyage begins with Before and After Light, a track based around a cyclical finger-picking sample and ghostly tones that could form the core of an Ambient Eno album. It Was Never Meant to Be This Way furthers the vessel along on a wash of synth waves and a melancholy chopstick piano figure. Around the bend to the A-sides end is the choral, Popul Vuh-inspired cosmic guitar shredding of Upon the Hill. Frozen Forest heightens the grandeur opening the B-side with a slow-mo break beat and arpreggiating bass work out. The title track casts doomsday shadows before the best use of a master blaster drum attack since DJ Shadows Stem/Long Stem. After the unrest, Orage drifts on a bed of wreckage into an uncertain dusk. The first pressing of The River is limited to 550 vinyl copies. The first run of jackets are printed black offset with a bronze letterpress overprint on heavy news board. Jacket concept and design by Kevin ONeill of Work For Good, based loosely on the weathered map that lead Fitzcarraldo to madness and freedom. 6 new songs + full digital download including remixes from Games, Jacques Renault, and Coyote." -Rvng

Artist: EXCEPTER
Title: Frkwys Vol. 2
Format: 12"
Label: Rvng International
Country: USA
Price: $17.00
"RVNG is proud to announce a new 12" series entitled FRKWYS. A play on the name of the legendary Folkways record label founded by Moses Asch in the late 40s to document sound and movement in music from around the world, our FRKWYS (think Freakways) 12" series pairs contemporary artists and their progenitors by way of remix, reinterpretation, and original collaboration. Like the Folkways releases, each installment in RVNGs FRKWYS series lives under a thematic banner (albeit sometimes loose) and explores a different facet of electronic music. The first release in the series features collaborations from NYC avant-pranksters Excepter with Chris Carter and Cosey Fanni Tutti of Throbbing Gristle and Chris & Cosey, and JG Thirwell of Foetus and his many alter egos. The result of this premiere series edition is a new and entirely relevant industrial revolution. Chris & Cosey draw from their early output (Heartbeat, Trance) and turn Excepters Shots Ring into a whip smart primitive techno mix while JG Thirwell orchestrates Stretch as a wildly percussive, brassy acid track. We are housing these limited edition 12"s (900 copies / pressing) in a classic package using heavy stock jackets applied in leatherette and tip on adhesives, creating a truly substantial and archival feel. You have to see / hear this record to believe it." -RVNG International
SOLD OUT

Artist: GROSSKOPF, HARALD
Title: Synthesist/Re-Synthesist
Format: LP + CD
Label: Rvng International
Country: USA
Price: $22.00
"Synthesist, the landmark 1980 solo album by Harald Grosskopf, the enigmatic percussionist behind Ash Ra Temple, Klaus Schulze, Cosmic Jokers, and YOU. A melodically rich and celebratory symbiosis of krautrock, kosmische, and new age, restored and remastered for RVNG Intls debut reissue. Includes a bonus album compilation CD Re-Synthesist, featuring reinterpretations of Synthesist by Oneohtrix Point Never, Blondes, Arp, CFCF, Stellar Om Source, James Ferraro and more. The Synthesist LP comes in a deluxe package including a unique reverse-bound record jacket and full-color liner notes in English and German." -Rvng.

Artist: GUNN, STEVE & MIKE COOPER
Title: Cantos de Lisboa
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"For the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving, radiating legend Mike Cooper in Lisbon, Portugal. Sharing their vision over lengthy living room guitar sessions and evenings of cold wine in Fado taverns, Gunn and Cooper created Cantos de Lisboa, an album with variable vernacular shades and musical forms from Portugals antiquity. Cantos means “corner” in Portuguese, as well as “chant” or “song” (this latter meaning evolved from the Latin antecedent referring to stanzas of verse in poetry). For two artists whose roots lie in the country blues and its subverted offshoots, the proverbial “corner” is actually home, the undisturbed spot where music can flourish. A tranquil interlude for these two travelers to create off-guard improvisations in their shared style of deconstructed guitar music, Cantos de Lisboa is a curious detail in the periphery of this snapshot of Portugal. In his fifty-year-plus career, Coopers global ventures have transported his music to exotic locales parallel to Lisbon. 2004s Rayon Hula musically translated the patterned flora of aloha shirts (Coopers signature garment) as looped samples of famed Hawaiian vibraphone player Arthur Lyman for an avant vivified form of exotica. Rayon Hula signaled Coopers vital re-emergence as a dexterous alchemist of slide guitar. Coopers discography is colored with similar instances of casually conceptual, improvisatory guitar music, including his 1970 masterpiece Trout Steel (an album Gunn recalls in Cantos de Lisboas liner notes as shaping his own ambitions and music). For his part, Gunns path to Portugal was compelled by his kinship to Cooper and his ilks experimentation with guitar-picked country blues and 70s British folk. Gunns extracurricular immersion in free jazz and psychedelia, no doubt influenced by his Philadelphia upbringing and surroundings, ensures his playing never grits or grids and always soars to ecstatic heights. These musical emblems were gracefully memorialized on Gunns celebrated Time Off (Paradise of Bachelors, 2013) and across a substantial catalog of solo, duo and ensemble work that resembles that of a veteran player more than a young guitar slinger. On Cantos de Lisboa, Gunn and Cooper take emotive cues from Fado, the regional music of Portugal, which is in close plaintive spirit to the blues. A melancholy seeps into the music of Cantos de Lisboa, while steering a wide berth from any bummer notes or pastiche. Coopers sparse effects toolkit and stately, gliding cadences are nimbly employed, while Gunns ashen voice and steady strum lend an intensely organic feel to the albums improvisatory portraits. The latter half of Cantos de Lisboa echoes the “saudade” theme as referenced in the blissful opening track, Coopers howl spiriting the Portuguese word that translates roughly into “loss” or “longing.” Saudade is said to be the core feature of Fado music. In Cantos de Lisboa, Saudade becomes a spirit inhabiting the albums corners, but never disrupting the musicians collaborative evocations. In the hands of these two limitless guitarists, Cantos de Lisboa convenes in an abstract, almost field recorded take on lap-steel and American Primitive guitar styles. For the brief idyll, Gunn and Coopers collaboration is remarkably rich, marking their passage through Portugal not just as a time to revel in an ancient city, but a time for focused collaboration and creative consonance." - Rvng International.

Artist: HOLTER, JULIA
Title: Ekstasis
Format: Double LP
Label: Rvng International
Country: USA
Price: $20.00
"Julia Holters second album,Ekstasis, is a collection of songs written and recorded across the span of three years in Los Angeles, California. Ekstasis marks a return to the playful searching of her 2007 Eating the Stars EP, but guided by newly-learned disciplines, slightly better technology, and nearly limitless home recording time. Holters songwriting stems from a mythological reverence of that which is incomprehensibly beautiful. Stars was a first attempt at musically transcribing this beauty, while discovering the honest enjoyment of unadulterated creativity. Holters critically acclaimed debut album Tragedy (Leaving Records, 2011) embraced Stars strains of shimmer, but used sparser textures in a narrative context. While Ekstasis reflects the conventions of her classical training, the album is also uncannily, if unknowingly, poppy. Holters approach to crafting the songs of Ekstasis centered around what she describes as, open ear decision: what seemed to sound best for that moment. This blindness to reverence unintentionally steers Ekstasis along the experimental pop spectrum most commonly associated to New Yorks Downtown music micro-universe of the 80s, specifically the works of Laurie Anderson and Arthur Russell. Repressed with mp3 download." -Rvng.

Artist: KALMA, ARIEL
Title: An Evolutionary Music (Original Recordings: 1972 - 1979)
Format: Double LP
Label: Rvng International
Country: USA
Price: $24.00
“An Evolutionary Music (Original Recordings: 1972 – 1979)compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalmas work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde. Ariel Kalmas boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue rhythm machine meditations. Kalmas story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, An Evolutionary Music offers the imprint of an outright auteur. Born in France, but rarely in one place for long, Ariel Kalmas 1970s migrations took flight through the decades furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma found an antidote to rock n rolls glitz and glamour in sacred music traditions. Kalma would later return to India and learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units. Those effects evolved from Kalmas loyalty to a beloved dual ReVox set-up— two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings. The results collapse distinctions between “electro-acoustic”, “biomusicology” and “ambient” categorization. In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henrys legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios – the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalmas relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as universal patterns, in perfect harmony with the people, places and environments it was created. Kalmas recorded output of the 1970s culminated in the now scarcely-available Les Temps des Moissons (trans. The Time of Harvest) in 1975 and Osmose in 1978, a masterpiece of birdsong exploration. Osmose is double album featuring sculptorRichard Tinti, who had supplied Kalma with hours of field recordings from the rainforests of Borneo. With somber organ textures and wistful sax blended seamlessly into the wild of the forest sounds, Osmose avoids simple soundscaping through Kalmas careful arrangements, allowing each life form its own harmonic gravity. The backdrop of An Evolutionary Music depicts Kalmas adventures as a world traveller on the cosmic path of inner discovery and musical innovation. Coinciding with United States bicentennial in 1976, Kalma made his way to New York to join the exclusive musical-spiritual collective Arica, and ended up crashing in the Cathedral of Saint John the Divines basement. At night, Ariel played the churchs organ and ventured out to mix it up with like-minded musicians in the Village. It was here that he met a musical hero, Don Cherry, an artist of much consequence and similarity to Kalma. An Evolutionary Music harvests uncatalogued music made between Kalmas private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalmas righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as Terry Riley, La Monte Young, and Charlemagne Palestine. Extensive liner notes and artist interviews were overseen by New York writer Jesse Jarnow. The collection was assembled by RVNG and Ariel Kalma himself, who continues making music to this day.” - Rvng.

Artist: LEIMER, K.
Title: A Period of Review
Format: Double LP
Label: Rvng International
Country: USA
Price: $22.00
"“For the third installment in RVNG Intl.s archival series, the tape is wound back to 1970s Seattle, home place of ambient music savant K. Leimer. A Period of Review (Original Recordings: 1975 – 1983) unearths unreleased portions of Leimers vast archives and highlights the work of a self-taught visionary whose use of generative compositions ferried his music to infinite resonance.

Kerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family permanently settled in Seattle in 1967. Kerrys teenage interests and artistic experiments blossomed from the seductively strange tendrils of Dadaism and Surrealism. In the early 70s, Leimer found musical parallels to these visual movements by studying backdaated copies of NME and Melody Maker and inquiring with local record store clerks about the exotic descriptions he read of Can, Neu! and Faust – innovators who were bringing the wild dictates of 60s art-discourse into music.

The tape-manipulated serenity Leimer experienced with Clusters II was a key revelation. Leimer realized the potential to compose with minimal training and scoured pawnshops for cheap instruments and recording equipment to transpose his wayward musical instincts. Leimers sound palette and composition soon refined and heightened with the accessibility of dynamic equipment such as the Micromoog and TEAC multi-track tape machines. Synchronously, the Terry Riley indebted loop-based compositions of Robert Fripp and Brian Enos No Pussyfooting inspired Leimer to form recursive musical passages of bare timbre and melody that would become hallmarks of his sound. “The loop provided an instant structure – a sort of fatalism,” recollects Leimer in A Period of Reviews liner notes. “The participation of the tape machine in shaping and extending the music was a key to setting self-deterministic systems in motion and held a clear relationship to my interests in fine art.”

The underground music scene of Seattle-Olympia in late 70s was small but seeded. The vestiges of prog rock pompously pummeled the few clubs and record shops before punk and New Wave became the rage. Leimer sought to support a growing community of experimental composers by launching the Palace of Lights record label in 1979 with his wife Dorothy Cross (this was years prior to the birth of regional titans K Records and Sub Pop). Palace of Lights took philosophical and logistical cues from the flourishing DIY cassette culture, but demonstrated a different elegance in its music and design. A testament to his independent and uncompromising spirit, all of Leimers recorded work would be released in varying formats and editions on Palace of Lights from 79 to 83.

Leimer rarely performed live, averting the litmus of instant appreciation for his solitary studio pursuits. Tellingly, the “K.” that abbreviated Leimers first name was a nod to Kafkas doomed pariah Josef K (from The Trial and The Castle). This gives a sense of the reclusive and literary realm Leimer was fond of working in. Despite his reticence, Leimers debut 1980 album Closed System Potentials would reach a receptive audience, and eventually sell more than 3,000 copies thanks in part to Crosss persistent advocation to independent distributors and magazines.

A Period of Review focuses on unheard material outside of the work Leimer offered on Palace of Lights, though even that music could be considered relatively “unheard.” The thirty tracks of A Period of Review may have remained a mystery on moldy reels until now, but Leimers entire catalog of generative music remains pristine in its absolute power.

The pieces of A Period of Review draw on many influences of the time, articulating gestures that embrace coolly composed stoicism, saturated fields of percolating beats, stark razed spaces and grave and gently developed glimpses of beauty. Overall, a genuine diversity of expression underscoring just how much range Leimer had at his disposal. A Period of Review is a rewarding step into the canopied, unheard world of K. Leimer and necessarily grand in scope. With its hypnotic, arcadian terraces and nearly narcotic glacial beauty, A Period of Review has a rightful place in the canon of pioneering ambient music."

Artist: LEON, CRAIG
Title: Anthology of Interplanetary Folk Music Vol. 1 : Nommos/Visiting
Format: Double LP
Label: Rvng International
Country: USA
Price: $24.00
“Craig Leons seminal synthesizer albums Nommos and Visiting are finally re-editioned in definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.s archival series.

Issued respectively by John Faheys Takoma record label in 1980 and Leons Arbitor private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard Craig Leon. Leons production was pivotal in realizing the debut recordings by Ramones, Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound, Leons own debut album was arguably, if not literally, more alien.

In 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it?

Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. An avant empathist and eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint. After a secluded week in an Austin, Texas studio with his partner, wife and collaborator Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of Roger Linns nascent drum-machine, the LM-1.

Issued by Fahey with zero expectation of the same radio airplay Leon accomplished with his pop productions, Nommos now stands as an innovative example of cosmic-synth composition that wasnt made for its time or any other. For this edition, Leon has in fact re-animated Nommos by re-recording the exact audio signals as preserved in the albums original studio notes. Every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio of an album whose masters were unaccessible to Leon due to a major label merger milieu from years ago. Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The album is in equal measure more improvisatory and constructed than its predecessor. Both albums were intended to be listened to as a set in the first volume of Leons Anthology of Interplanetary Folk Music (the title was an homage to Harry Smiths influential collection of folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation.

While reissues and bootlegs have appeared to relieve the demand for these records, this collection will stand as definitive versions authorized by Craig Leon himself. The vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by Leon. The first tells the complete story of the stargazing Dogon people and their prescient understanding of cosmology. The second details Leons adventure in creating the Anthology of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one seamless synth classic.” - Rvng International.

Artist: SENSATIONS FIX
Title: Music Is Painting in the Air (1974-1977)
Format: Double CD
Label: Rvng International
Country: USA
Price: $16.00
"Essential collection of new mixes and unreleased material from Sensations Fix, the cosmically conscious, defiantly DIY enterprise of Franco Falsini and his band of psychedelic renegades." - Rvng.

Artist: SENSATIONS FIX
Title: Music Is Painting in the Air (1974-1977)
Format: Double LP
Label: Rvng International
Country: USA
Price: $28.00
"Essential collection of new mixes and unreleased material from Sensations Fix, the cosmically conscious, defiantly DIY enterprise of Franco Falsini and his band of psychedelic renegades." - Rvng.
SOLD OUT

Artist: SUN ARAW & M. GEDDES GENGRAS MEET THE CONGOS
Title: Icon Give Thank & Icon Eye
Format: LP/DVD
Label: Rvng International
Country: USA
Price: $18.00
"For the ninth volume of FRKWYS, a music and film series pairing contemporary artists with those that may have preceded them in style and / or approach, Sun Araw and M. Geddes Gengras meet legendary dub reggae group The Congos in St. Catherine, Jamaica and create the full-length album,ICON GIVE THANK. In conjunction, RVNG will release ICON EYE, a feature film documenting the young musicians time spent living and learning The Congos way. "In hindsight, the FRKWYS Vol. 9 timeline takes on dream-like qualities. In a matter of months, the idea for the collaboration was divinely inspired, The Congos reassembled in their original formation, and Sun Araw (earthly name Cameron Stallones), Gengras, alongside filmmakers Tony Lowe and Sam Fleischner, traveled to St. Catherine, Jamaica (45 minutes outside of Kingston) for ten days to undertake the unknown. "What events would transpire in the Portmore neighborhood of St. Catherine can only be described as blessed. The gates opened wide and warmly, the musicians and filmmakers ate, slept, and smoked at The Congos headquarters, their mural-emblazoned studio, home, and spiritual compound. An environment steeped in the Ital lifestyle, Rastafarian reflection and meditation, and a rich community bubbling with musical energy, both young and old artist would learn an unspoken creative language. "Having recorded some loose musical themes in LA to help inspire the creative process, Stallones and Gengras could only count on the shared respect for the sacrament of music to guide their work with The Congos. This respect is the foundation upon which Sun Araw & M. Geddes Gengras meet The Congos - ICON GIVE THANK is built. "GIVE THANK is not a dub reggae album, though it shares some of the genres production characteristics. Rather, its an album of Stallones and Gengrass melodically experimental meditations ornamented with The Congos soulful vocal leads and four-part harmonies. The four kings of the The Congos share the vocal throne over the course of GIVE THANK. "Congo Ashanti" Roy Johnson tenor, Cedric "Bongo" Mytons falsetto, Watty Burnett baritone, and Kenroy "Tallash" Fyffe cosmic vocal glue command singularity and create an essence combined. "The visual companion to the musical fruit of GIVE THANK is ICON EYE, a feature-length travelogue executively produced by Christine Vachon (Killer Films) and Randall Poster & Gelya Robb (Search Party Music). Shot by Lowe and Fleischner, ICON EYE evokes a musical and cultural intersection through refracted atmospheres and a feeling of magical, rhythmic synchronicity. ICON EYE shares dubbed-out editing techniques inherent in the reggae sub-genre, rendering a visual "version" of the album. "Through the diaristic yet cinematic lens of handheld HD cameras, secret moments from the studio, fishing villages, late night dances, abandoned hotels and The Congos yard are blended into a strange tapestry. Musicians, computers, children, and food reveal mystical resonance. ICON EYE is the first RVNG Intl. film production. Director / editor / cinematographer Lowe and producer / cinematographer Fleischner previously collaborated on Below the Brain (2011), a documentary about Brooklyn Carnival." -Rvng.
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