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Artist: 75 DOLLAR BILL
Title: Wood/Metal/Plastic/Pattern/Rhythm/Rock
Format: CD
Label: Tak:Til/Glitterbeat
Country: Germany
Price: $16.00
"CD release of one of 2016s most acclaimed albums, the first release on Glitterbeats tak:til imprint. 75 Dollar Bills second full-length crashed onto many of the years most prestigious best-of lists, including those of The Wire, Uncut, The Village Voice, and more. The NYC-based duo of Rick Brown and Che Chen creates hypnotic, pulsing music that weaves an ecstatic line from raw electric blues, Arabic modes, and entrancing folk minimalism back to the streets of New York. Notes by Rick Brown: "I feel very lucky to have wound up playing in 75 Dollar Bill with Che. Ill take some credit for the early setup, as I pursued the idea of us jamming together for a few years before we actually made some music together. But when it comes to focusing our sound, putting together a good set-list, imagining how to expand the group with guests and designing almost all of the visual/package aspects, Che has taken the lead. Obviously, he is responsible for his own parts and playing and his interest in the Arabic modes of Mauritanian music has marked our sound quite a bit but I have brought some things, too. The plywood crate I play is a big factor, defining, by its positive qualities (a nice warm boom sound) as well as by its simplicity, what were likely to do in the percussion realm. WMPPRR, this new record, differs quite a bit from the previous one, notably in the rhythmic tone. Wooden Bag (released in 2015 on Other Music Recording Co.) was all forward momentum, stomping and shaking, but the new record explores a long-standing interest of mine: odd and compound meters. In most of my previous musical activities, Ive convinced my partners to delve into this, but in 75 Dollar Bill it has just felt natural and I believe Ches modal investigations and melodic/harmonic tendencies enhance (and are enhanced by) this combination. The current record differs from the last in another big way: reinforcements! Over our few years together, Che and I have frequently had friends play with us at some of our gigs. There have been all sorts of permutations of instruments and some great friends/players who dont all appear on this record but here we are lucky to have a bunch of them: Cheryl Kingan (of The Scene Is Now) on baritone and alto saxes, Andrew Lafkas (of Todd Capps Mystery Train) on contrabass, Karen Waltuch (of Zeke & Karen) on viola, Rolyn Hu (of True Primes) on trumpet and Carey Balch (of Knoxvilles Give Thanks) on floor tom. 75 Dollar Bills plans for the future involve much more playing with these friends and others in bigger and smaller combos -- as well as me and Che stripped back to the core guitar and crate duo. For the present, though, please enjoy Wood/Metal/Plastic/ Pattern/Rhythm/Rock." - Tak:Til/Glitterbeat.

Artist: HASSELL, JON
Title: Dream Theory in Malaya: Fourth World Volume Two
Format: LP & CD
Label: Tak:Til/Glitterbeat
Country: Germany
Price: $25.00
"First reissue of Jon Hassells "Fourth World" masterpiece, originally released in 1981. Featuring contributions from Brian Eno, Daniel Lanois (U2, Peter Gabriel), and Michael Brook (Nusrat Fateh Ali Khan). Beautifully remastered, with a bonus track ("Ordinary Mind") and liner notes written by Hassell himself. "Fourth World is a viewpoint out of which evolves guidelines for finding balances between accumulated knowledge and the conditions created by new technologies" --Jon Hassell. From his time studying with Stockhausen in Cologne and a passage through the New York minimalist sphere with Terry Riley, La Monte Young, and Philip Glass to his mentorship with the Indian vocal master Pandit Pran Nath and collaborative excursions with Eno, the Talking Heads, Peter Gabriel, David Sylvian, Björk, and Ry Cooder, Jon Hassell has pursued a continuous questioning of the dichotomies between North and South, sacred and sensual, primitive and futurist. These cross-pollinating influences and pan-cultural musical educations led Hassell to the gradual development of musical concepts and gestures that he grouped under the "Fourth World" umbrella theory. "I wanted the mental and geographical landscapes to be more indeterminate -- not Indonesia, not Africa, not this or that. . . . What would music be like if classic had not been defined as what happened in Central Europe two hundred years ago. What if the world knew Javanese music and Pygmy music and Aborigine music? What would classical music sound like then?" In the late 1970s in New York, Hassell began to produce a series of astonishing albums on which his trumpet explored both non-Western modalities and dramatic sound processing (deftly rendered by nascent digital effects like the AMS Harmonizer). Brian Eno, who was living New York at the time, was thrilled by Hassells 1978 debut album, Vernal Equinox, and sought out its creator. Together they produced the classic 1980 album Fourth World Vol. 1: Possible Musics (GB 019CD/LP), before Eno charged headlong into "Fourth World"-ish collaborations with a new partner, David Byrne, on Remain in Light (1980) and My Life in The Bush of Ghosts (1981). Hassell began to feel that they were at least borrowing concepts and sounds to which he had introduced them, and at worst, that a full-scale appropriation was taking place. As Hassell undertook the process of recording and finalizing Dream Theory in Malaya: Fourth World Volume Two -- the follow-up to Possible Musics -- Brian Eno was again present, as both mixer and musician, but this time the back cover credits leave no room for interpretation or confusion: "All compositions by Jon Hassell. Produced by Jon Hassell."" - Tak:Til/Glitterbeat.

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