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ARTIST

:

O.R.K.

TITLE

:

SOUL OF AN OCTOPUS

FORMATS

:

SINGLE CD / LP (180GMS)

CAT NO:

:

RNR075 (CD) / RNR075LP (LP)

BARCODES

:

5060197761134 (CD) / 5060197761141 (LP)

RELEASE DATES :

FEBRUARY 24 TH 2017


MUSICIANS:

LORENZO ESPOSITO FORNASARI : VOCALS, KEYS, ELECTRONICS CARMELO PIPITONE : ACOUSTIC AND ELECTRIC GUITARS COLIN EDWIN : FRETTED AND FRETLESS BASS PAT MASTELOTTO : ACOUSTIC & ELECTRONIC DRUMS & PERCUSSION

FOR FANS OF:

KING CRIMSON, PORCUPINE TREE

GENRES:

PROGRESSIVE ROCK

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8. 9.

Too Numb Collapsing Hopes Searching For The Code Dirty Rain Scarlet Water Heaven Proof House Just Another Bad Day Capture or Reveal Till The Sunrise Comes

A1 A2 A3 A4 B1 B2 B3 B4 B5

Too Numb Collapsing Hopes Searching For The Code Dirty Rain Scarlet Water Heaven Proof House Just Another Bad Day Capture or Reveal Till The Sunrise Comes

TRACKLIST (LP) :


BLURB Following on the heels of 2015’s captivating Inflamed Rides , the members of the powerful collective O.R.k. — lead singer Lorenzo Esposito Fornasari, Porcupine Tree bassist Colin Edwin, Marta Sui Tubi guitarist Carmelo Peptone and King Crimson drummer Pat Mastelotto — were primed to deliver an even more potent statement for their sophomore offering. Coming off of a triumphant tour of Europe and South America, they were charged to take things up a notch. And so it was with Soul of an Octopus , their second recording and RareNoise debut. This one finds the four kindred spirits dealing in even deeper waters. “After Inflamed Rides we did around 30 shows in Europe, Argentina, Chile and Mexico this year,” says Fornasari. “That definitely helped us to reign in our sound and get to a more focused mutual vision. So all the pieces from the new album represent an honest and effective picture of who we are as O.R.k. right now. That said, people who have listened to the new stuff - included our booking agents - think this is at least four times more powerful and intense than Inflamed Rides .” Because of the presence of drummer Mastelotto, it would be easy to draw comparisons to King Crimson for this project. (The opener “Too Numb” in particular has a kind of Discipline vibe in its interlocking ostinatos that create a hypnotic latticework pattern against Fornasari’s menacing vocals). One can also hear traces of such artistically inclined groups as Pink Floyd in ambitious tunes like “Scarlet Water,” “Just Another Bad Day” and the extraordinary “Capture or Reveal.” But O.R.l. draws on a myriad of other influences throughout Soul of an Octopus that encompass prog-rock, free jazz and even bits of opera, as can be heard in Fornasari’s dramatic and wide-ranging vocals on tunes like the intense closer “Till the Sunrise Comes” and the epic 40-minute suite “Dirty Rain.” Says the native of Bologna, Italy, “I got a degree as opera singer, but when it comes to my music I try to forget what I've been taught. When I find myself working on new material I prefer to improvise and sing without thinking what to do or where to head to, at least that's what I do in first place.” On the extreme opposite end of the dynamic scale from the operative sweep that he delivers throughout Soul of an Octopus , Fornasari takes a more intimate, close-mic approach at the outset of the poetic “Heaven Proof House,” recalling the enigmatic whisper vocals of the late Leonard Cohen. “Since I think at myself as a composer and producer first and then as vocalist, I get my brain to rethink the whole structure and listen to my vocals


as a producer would do,” he explains. “I tend to give my vocals the same importance I'd give to any of the other instruments composing the whole structure.” Innovative Italian guitarist Pipitone is prominently featured on “Collapsing Heroes,” which opens with some gutbucket acoustic blues guitar and gradually builds to a slamming wah-wah fueled six-string onslaught. Says Fornasari of his O.R.k. bandmate, “Carmelo has received multiple awards from music Italian critics because of the way he plays acoustic guitar. He makes his strings bark and scream like the most ferocious electric piece of guitar and a second later he makes you cry with the most intense clean arpeggio. The very first time I've seen him playing with his other band Marta Sui Tubi — they’re quite famous in Italy — I thought, ‘Hey! I want to make some noise with this crazy horse!’ And here we are.” Fornasari further describes the process that he and his O.R.k. bandmates took on this RareNoise release: “We usually start the process from guitar or bass riffs, I assemble a rough structure and send it over to the other guys. This collaborative back-and-forth process across the miles is very effective in our case. Nonetheless, it usually takes weeks or even months before a piece gets to its final shape. We don't follow any pre-defined plan though. One of the most intriguing elements in music is the most unpredictable too — once you release new stuff you never know how people will react and interpret your sound and words.” While Fornasari has also been involved in other projects for RareNoise Records (he was on Owls’ 2011 release, The Night Stays , Berserk’s self-titled 2013 debut and Obake’s 2015 release Mutations) , he considers O.R.k. to be the focus of his artistic endeavors right now. “I love Berserk! and Owls but I see them as collaborative side projects while O.R.k. is actually my main band. It’s the one which best represents my vision in music and the one I'm dedicating most of my of time and energy to.” Fornasari clearly poured his heart and soul and all of his energy in this band. If you can’t catch O.R.k. in action live, check out their imposing sophomore release, Soul of an Octopus , which stands as one of the more intensely compelling recordings in the RareNoise roster. FOR INFORMATION :

giacomo@rarenoiserecords.com


**************************************

SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/ork-soul-of-an-octopus/s8OyKZ **************************************


ARTIST

:

REFLECTIONS IN COSMO

TITLE

:

REFLECTIONS IN COSMO

FORMATS

:

SINGLE CD / LP (180GMS)

CAT NO:

:

RNR073 (CD) / RNR073LP (LP)

BARCODES

:

5060197761103 (CD) / 5060197761110 (LP)

RELEASE DATES :

JANUARY 20TH 2017


MUSICIANS:

KJETIL MØSTER - SAXOPHONES HANS MAGNUS RYAN - GUITAR STÅLE STØRLOKKEN - KEYBOARDS THOMAS STRØNEN – DRUMS

FOR FANS OF:

ELEPHANT9, SUPERSILENT, HUMCRUSH, MOTORPSYCHO

GENRES:

ROCK-JAZZ, METAL, PSYCHEDELIA

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7.

Cosmosis Ironhorse Cosmic Hymn Balklava Perpetuum Immobile Fuzzstew Reflections In Cosmo

A1 A2 A3 A4 B1 B2 B3

Cosmosis Ironhorse Cosmic Hymn Balklava Perpetuum Immobile Fuzzstew Reflections In Cosmo

TRACKLIST (LP) :

BLURB The fire and fury of ‘60s free jazz and the tumult of electronic rock-tinged experimental music is on full display on this new powerhouse offering from four cutting edge Oslo-based musicians collectively known as Reflection in Cosmo. With Kjetil Moster on saxes, Hans Magnus Ryan on guitar, Stale Storlokken on keyboards and Thomas Stronen on drums, these four kindred spirits strike a tumultuous accord on their self-titled debut on RareNoise Records, which represents Moster’s followup on RareNoise to his edgy avantjazz collaboration in 2014 with the Hungarian power trio Ju. At times recalling the ferocious intensity of the late ‘80s free jazz quartet Last Exit (Peter Brotzman, Sonny Sharrock, Bill Lawell, Ronald Shannon Jackson), this potent


Norwegian outfit pushes the envelope with Moster’s blowtorch intensity on baritone and tenor saxes, Ryan’s wailing electric guitar work, Storlokken’s crunchy, distortion-laced keyboards and Stronen’s thunderous drumming. “This band was initiated by Thomas and Ståle,” explains Moster. “They have been releasing albums on Rune Grammofon under the name Humcrush for 15 years and they wanted to try out an expanded direction, both in terms of band members and references. They asked me and Hans Magnus ‘Snah’ Ryan from Motorpsycho, actually not being aware of the fact that Hans Magnus just took over for Ståle in my own quartet Møster! Yes, it’s a small inbred world, this.” This small world that Moster refers to is the world of genre-crossing musicians operating in the twilight zone between experimental electric jazz, noise rock and psych rock. As Moster says, “Instead of the jazz-rock we had in the 70’s and 80’s, maybe we now can talk of rock-jazz? Jü would definitely be a part of this fellowship, as would Elephant9 and Møster!” Add Reflection in Cosmo to that list. And whether or not they are following in the footsteps of Last Exit, Moster is quick to point out, “Any comparison to Brötzmann I take as a big compliment! He has definitely been a huge influence on me for big periods of my musical upbringing. Last Exit is sure ringing in the back of my head in this band, even though we have not been discussing explicit references like that. We all bring in our own musical backgrounds and add it to the stew.” Recorded in spacious Øra Studio in in Trondheim, Norway, Reflection in Cosmo reveals some uncanny group-think by these four Norwegian musicians. “I don’t like rules in music,” says Stronen, “and with the background we all have, from free-music to hip-hop and contemporary music, that’s not going to be an issue.” Moster does bring a Brotxzman-like intensity to bear on his bari blowouts like “Fuzzstew,” “Cosmosis” and the kinetic “Perpetual Immobile.” He switches to soprano sax on the spacious, ambient number “Ironhorse” and blows bold tenor lines on “Cosmic Hymn” and the title track. Ryan unleashes his ferocious guitar chops on the aptly-named “Fuzzstew” and “Balklava.” Says Moster of his six-string partner, “Hans Magnus is one of my favorite guitarists of all time. His sense of texture and ability to build tension and raise this hellacious ferocity is quite unique. I think it comes from playing for about 30 years with Motorpsycho, thus rooted in a heavy but detailed rock aesthetic, but still been deeply into a broad variety of improvisational styles.’ Drummer Stronen is featured traversing the kit with power and precision on the crushing title track. Regarding his own drum influences, Stronen points to myriad inspirations. “As a kid I was lucky to play a lot with older and better musicians. The first thing I learned was to listen to the other musicians and


react to what they did. I played everything from pop/rock music to free improvised music and got the chance to perform on stage quite early. By the time I turned 18, I started to practice seriously. Since then I’ve been influenced by lots of jazz music, from Pharaoh Sanders, Miles Davis and John Coltrane to lots of European musicians on ECM Records. For a longer time, I was massively into Japanese classical music, West African Wolof music and American minimalist composers. Drumming-wise, I’ve picked from the history of jazz, Japanese drum ensembles and classical drummers. Ultimately, it doesn’t matter what you dig into as long as you dig. It’s a long and thorough process of collecting what’s great about what you hear and putting that in the big melting pot, and with a large vocabulary you can put what’s needed into the music.” Their combination of refreshing new ideas, uninhibited improvisations and heavy-duty, throbbing intensity places Reflection in Cosmo in rarefied air. “The main key to the four of us, I think, is that we´re open minded and don’t have a presumption of how to play,” adds Stronen. “I find Snah, Kjetil and Ståle to be daring, curious and generous in the way they play. Our agenda is to put the music in front and not some solo performance. The instruments and way of playing blends well, I think. We all have a lot of energy too, which can make the music powerful.”

FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/reflections-in-cosmo/s-eqp7q **************************************


ARTIST

:

LED BIB

TITLE

:

UMBRELLA WEATHER

FORMATS

:

SINGLE CD / DOUBLE LP (2X180GMS)

CAT NO:

:

RNR069 (CD) / RNR069LP (LP)

BARCODES

:

5060197761066 (CD) / 5060197761073 (LP)

RELEASE DATES :

NOVEMBER 20TH 2017


MUSICIANS:

MARK HOLUB : DRUMS PETE GROGAN : ALTO SAXOPHONE CHRIS WILLIAMS : ALTO SAXOPHONE LIRAN DONIN : BASS TOBY MCLAREN : KEYBOARDS

FOR FANS OF:

JAZZ-ROCK

GENRES:

AMBIENT, INDIAN MUSIC, ELECTRONICS

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Lobster Terror Ceasefire On The Roundabout Fields Of Forgetfulness Too Many Cooks Women’s Power Insect Invasion At The Shopping Centre Skeleton Key To The City The Boot Marching Orders Goodbye

A1 A2 A3 B1 B2 B3 B4 C1 C2 D1 D2 D3

Lobster Terror Ceasefire On The Roundabout Fields Of Forgetfulness Too Many Cooks Women’s Power Insect Invasion At The Shopping Centre Skeleton Key To The City The Boot Marching Orders Goodbye

TRACKLIST (LP) :


BLURB Easily the most adventurous and audacious outfit on today’s UK jazz scene, Led Bib has built a reputation over the course of seven albums for expansive improvisations and treks into genre-defying music of throbbing intensity. All Music Guide called their singular brand of jazz “explosive enough to blow up your speakers” while The Wire weighed in with: “This is the sound of a band having fun...like a hot chainsaw through butter.” For their RareNoise Records debut, the five-piece group from London continues pushing the envelope on Umbrella Weather. Fueled by the muscular drumming of ringleader Mark Holub and the intense fuzz bass lines of Liran Donin, further tweaked by atmospheric washes and crunchy keyboard action from Toby McLaren and sparked by the pungent twin alto saxes of Peter Grogan and Chris Williams, Led Bib stakes out a unique spot in the musical terrain that falls somewhere between the realms of John Zorn, Ornette Coleman, Charles Mingus and Eric Dolphy, all imbued with a very strong jazz-rock sensitivity. From the odd-metered opener “Lobster Terror” to their raucous textures on “Too Many Cooks,” from the fuzz-inflected mayhem of “Skeleton Key to the City” to the turbulent “At The Shopping Centre,” the expansive 5-minute ambient jam on “Insect Invasion” and the surprisingly lyrical waltz-time closer “Goodbye,” this renegade outfit never fails to inject an element of surprise into each potent track. And while certain pieces like “ Ceasefire ”, “The Boot” or the groove-heavy “Women’s Power” may seem like well-crafted and tightly executed compositions, Holub explains that most of the music heard on Umbrella Weather comes about organically in the studio through a keen sense of collective intuition honed over the past 13 years of playing together. “In general, very little is written. We are mostly working in a typical jazz style of head-solos-head but in almost every tune the solos are completely open. This concept of free improvisation is a tricky one because it has become a genre all its own, but we are looking at it in a different way. With some of the tunes, we are sort of composing in the moment, rather than the sort of free association that is often thought of as free-improvisation. Led Bib formed in 2003 as Holub’s Master’s degree project at Middlesex University. “We went through quite a few different people at the very beginning, but by the time of our first release in 2005 (Arboretum, SLAM Productions) the line up was set and hasn't changed since,” he explains.


Holub runs down the backgrounds of his Led Bib colleagues: “Chris Williams is perhaps the most involved in the 'jazz' scene of all of us, though this is definitely more on the contemporary side. He is a founding member of Let Spin, a key member of Laura Cole’s Metamorphic. Liran Donin works a lot as a producer outside of Led Bib working both in Jazz, but also in the realms of Pop and World Music, most notably recently with Namvula Rennie, Mulatu Astatke, Arun Ghosh and Chrissie Hynde. Toby McLaren is working as a producer, mostly in the rock world. He also plays keyboards for The Heavy, a sort of soul rock band that does quite well in the USA. He seems to be over there all the time these days! Finally, Pete Grogan plays with the Alex Horne and the Horne Section, The Brothers Ignatius, The Heavy, while doing session work with Ed Sheeran and scoring and arranging music for a Roald Dahl film well as playing lots of sessions in that genre.” Holub’s own penchant for playing rock influenced jazz, or vice versa, came about over time. As he explains, “When I first started playing jazz, I was coming more from the sort of jam band/experimental rock stuff.... Grateful Dead, Frank Zappa, Captain Beefheart. And then I got more into the free jazz of the ‘60s, particularly Ornette Coleman, but also Eric Dolphy, Charles Mingus and Miles Davis. The two-alto frontline of Grogan and Williams is perhaps the distinguishing characteristic of this punk-edged jazz group. “The idea came about just by chance,” says Holub. “Someone suggested another alto player and I thought, ‘Hey, two altos! That could work!’ I think I liked the sort of 'ugly beauty' of that combo. There is something harsh about having the two altos together, which is great for when the music is heavy. But also, there is something almost bittersweet about the crashing of timbres between the two of them in the quieter moments Since its inception 13 years ago, this forward-looking jazz unit has evolved to the controlled cacophony and ‘ugly beauty’ that we hear on Umbrella Weather. “Over time I think Led Bib has moved quite far away from my original vision,” says Holub. “It has become very much a group project with it being as much influenced by the other guys’ interests, but I am still steering the ship. To me, that is what has made Led Bib special, that the sound has been a natural


evolution, which has naturally taken on everyone's ideas and influences rather than something which has been pre-determined to sound in a specific way.”

FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/led-bib-umbrella-weather/sWRXkJ **************************************


ARTIST

:

ERALDO BERNOCCHI – PRAKASH SONTAKKE

TITLE

:

INVISIBLE STRINGS

FORMATS

:

SINGLE CD / LP (180GMS)

CAT NO:

:

RNR069 (CD) / RNR069LP (LP)

BARCODES

:

5060197761028 (CD) / 5060197761035 (LP)

RELEASE DATES :

 

 

NOVEMBER 18TH 2016

 


MUSICIANS:

ERALDO BERNOCCHI – BARITONE GUITARS, ELECTRIC GUITARS, ELECTRONICS PRAKASH SONTAKKE : LAP STEEL GUITARS

FOR FANS OF:

TALVIN SINGH, SHAKTI, TRILOK GURTU

GENRES:

AMBIENT, INDIAN MUSIC, ELECTRONICS

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8. 9.

The Last Emperor Walked Alone Will You Stay From Star To Star The Invisible Ferry Sublime Skies Bangalor Electric Purple Yellow Walking Backwards Again The Unsaid

TRACKLIST (LP) : A1. A2. A3. A4. B1. B2. B3. B4. B5.

The Last Emperor Walked Alone Will You Stay From Star To Star The Invisible Ferry Sublime Skies Bangalor Electric Purple Yellow Walking Backwards Again The Unsaid

BLURB On his latest RareNoise Records release, the one-time Italian punk guitarist and current experimental musician-producer-sound designer Eraldo Bernocchi joins Indian slide guitar master Prakash Sontakke for a rare encounter on the sublimely beautiful Invisible Strings. A melding of East and West, Bernocchi plays sparse guitar lines behind the Hindustani lap steel virtuoso on this evocative collaboration between the two. From “The Last Emperor Walked Alone” to “Sublime Skies,” “Bangalor Electric” and “The

 

 


Unsaid,” Bernocchi and Sontakke strike an uncommon accord on this meeting of the spirits. “The first time I heard about Prakash was in a project with Eivind Arseet where he played guitar. His name popped out again from a journalist who suggested I should do something with him because we could really get along. He actually was right. Prakash is such a sensible person, able to adapt to any style or sound environment. And he has an amazing way of mixing Hindustani classical music with new technologies as well lap steel guitar.” In shaping a sonic environment for Prakash to play in, Bernocchi was mindful of letting things flow in the studio as the music took shape. “It's difficult for me to start with a sound concept,” he says, “as sound lives by itself and blooms according to what's surrounding it. I was intrigued by the idea of working with another guitar player, especially one coming from a different tradition who was confronting himself with a more western instrument. I have loved Indian and Asian music since I was a teenager and for me to work with someone so skilled, so amazingly dynamic has been a kind of dream fulfilled.” Bernocchi acknowledges that Brian Eno’s 1983 ambient music project Apollo (which utilized lap steel guitar) was a seed for his own work on the Invisible Strings project. “I own Apollo on vinyl, CD and tape, “he says. “It is one of my favourite records of all time. It's very likely that in a silent way, when I had the chance to play with someone who eventually reminded me of those moments, my brain reacted to it with a big smile.” Add the fact that Prakash is Indian and Bernocchi professes a special love for that place and its music, and you have the makings of magical outing. Bernocchi, who co-founded RareNoise Records in 2008 with Giacomo Bruzzo, has recorded with the bands Obake, Metallic Taste of Blood and Owls and also collaborated with minimalist pianist-composer Harold Budd for the London-based label. For Invisible Strings, he saw his role as a guitarist from a couple of different points of view. “The first approach was creating atmospheres around Prakash’s guitar magic. I used a lot of pedals and I completely reshaped the sound of the guitar as we know it,” he explains. “On the record there are a lot of sounds that are made with guitar but they sound like from other instruments. I've always been interested in using the guitar as a tool, as something that could create sounds out of space or nowhere. There are pads, drones, keys that are

 

 


coming from my guitars. I mainly used baritone guitars, especially a custom made aluminum one built for me by Nude Guitars from Italy. They're amazing instruments with such a sustain that sometimes you think there's compression applied but it's just the aluminum neck dialoguing with the wood body. The second phase was duetting with Prakash, creating something that could be a sort of dialogue. This was much more risky as he is a such a skilled player and so sensible that I was worried to spoil the magic of his melodies. But I think in the end it worked well and everything was natural.” Bernocchi explains the process of carving out the evocative soundscapes heard behind Sontakke throughout Invisible Strings. “Every track starts with a melody, a harmony, a loop of something I had in mind that I was sending to Prakash to record on. He was then sending me back his guitar parts or his ideas for melodies and harmonies, and from that point I was starting to build tracks. So every groove, beat, bass line or my guitar parts are always dialoguing with what he was sending me. Sometimes we reversed the process with me sending over themes, like on ‘The Unsaid’ for example. It's a time-consuming process, especially because I'm a studio maniac and I'm never satisfied. So ultimately it took one and a half years of sessions to complete this project. “It is a very emotional album,” Bernocchi continues, “as during the process of composing and recording it, we exchanged a lot of personal stories, impressions, memories. A lot of small stories surfaced during the making of Invisible Strings -- some happy, some melancholic, some really sad. Prakash is one of those persons with whom I could fully open my heart to emotions. I can't wait to play live with him.” Invisible Strings, Bernocchi’s most genuinely heartfelt and strikingly evocative recording to date, will be released on RareNoise Records in November.

 

 


FOR INFORMATION :

 

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/eraldo-bernocchi-prakashsontakke-invisible-strings/s-AP2bf **************************************

 

 


ARTIST

:

BOBBY PREVITE

TITLE

:

MASS

FORMATS

:

SINGLE CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR072 (CD) / RNR072LP (LP)

BARCODES

:

5060197761080 (CD) / 5060197761097 (LP)

RELEASE DATES :

 

 

NOVEMBER 18TH 2016

 


Built upon a re-arrangement of the Missa Sancti Jacobi by Guillaume Dufay (1397-1474) pipe organ music inspired by Olivier Messiaen (1908-1992) THE ROSE ENSEMBLE Conducted by Jordan Sramek Eric Betthauser John Bitterman Heather Cogswell Lisa Drew Linda Kachelmeier Kristine Kautzman Kathy Lee Tim O’Brien Jordan Sramek Kim Sueoka Paul M. Tipton

1. INTROIT Stephen O’Malley - guitars Jamie Saft - guitars Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte - drums, guitar, pipe organ, combo organ

2. KYRIE Stephen O’Malley - guitars

 

 


Don McGreevy - guitars

 

Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte - drums

3. GLORIA Stephen O’Malley - guitars Don McGreevy - guitars Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte - drums

4. ALLELUIA Stephen O’Malley - guitars Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte - drums 5. CREDO Stephen O’Malley - guitars Don McGreevy - guitars Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte - drums, synthesizer bass

6. OFFERING Mike Gamble - guitars

 

 


Stephen O’Malley - feedback solo

 

Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte – drums

7. SANCTUS Stephen O’Malley - guitars Don McGreevy - guitars Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte - drums, pipe organ

8. AGNUS DEI Marco Benevento - pipe organ, Rheem organ Reed Mathis - electric bass Bobby Previte – drums

9. COMMUNION Stephen O’Malley - guitars Marco Benevento - pipe organ, electronics Bobby Previte - drums, Farfisa organ

BLURB As widely renowned for his unerring, intuitive grooves behind the kit as he is

 

 


for his inventiveness as a composer and bandleader, Bobby Previte stretches into some totally new musical terrain on Mass , his RareNoise debut as a leader and followup to 2014’s cooperative trio project The New Standard with bassist Steve Swallow and keyboardist Jamie Saft. A modernist re-imagining of the choral epic Missa Sancti Jacobi by 15th century composer Guillaume Dufay, Previte’s Mass prominently features the imposing sound of cathedral pipe organ along with an acclaimed early music chamber vocal group, the 11voice Rose Ensemble conducted by Jordan Sramek, and a slamming core group consisting of Previte on drums, Marco Benevento on pipe organ and Rheem organ, Don McGreevy, Stephen O’Malley, Mike Gamble and Jamie Saft on electric guitars and Reed Mathis on electric bass. A kind of heavy metal requiem mass, full of thrashing feedback guitars and grinding power chords, hellacious fuzz bass, thunderous beats and the glorious sound of a Medieval vocal choir, Mass is unlike anything Previte has done before in his extensive discography, which covers recordings by his bands Weather Clear Track Fast, Latin for Travelers, The Coalition of the Willing, Bump and the Beta Popes. “I've been thinking about this idea for at least 12 or 13 years now,” says thedrummer-composer.’ ”In fact, I scored a version of it in the early 2000s that I toured Europe with. Then when when I got home, I decided it wasn't right and threw it all in the trash. It wasn't powerful enough. So I went back to the drawing board.” Previte first encountered composer Guillaume Dufay in his Early Music class in college. “You have to remember, when Dufay wrote his music it was performed at a time in which there were no loud man-made sounds -- no amplifiers, airplanes, bombs, etc. Performed in a hard-walled stone church, the sound racing around the walls and bouncing off the ceiling, it had to have been anoverwhelming experience. Now it feels quiet, meditative, but in the context of its time I believe it was a powerful, soul-shaking, transportive, otherworldly music. And I needed to match that power, so I had to go with Metal -- a reviled music that somehow still keeps coming.” Previte and his wife, the writer and choreographer Andrea Kleine, presented the piece in 2007 as a full-blown theater production at the Walker Art Center in Minneapolis. “She wrote the book and directed it,” he explains. “It was then that I met the Rose Ensemble. They specialize in Early Music, which was essential to me. It's a very different discipline than other vocal music. And for them to have the courage and the openness to do a project like this, where I asked them to sing in a different tempo, key and time signature while the crushing metal band was playing -- that was truly

 

 


inspiring.”

     

 

The players involved in Mass are old cohorts of Previte. Organist Benevento and bassist Reed played in his The Coalition of the Willing. Saft played in Previte’s Latin for Travelers band and is also a key member of 2014‘s The New Standard on RareNoise. Guitarist Gamble has been a longstanding collaborator and is also a member of Previte’s current working quartet, Bobby Previte and the Visitors. Guitarists O'Malley and McGreevy are members of the Seattle-based drone and doom metal bands Sunn O))) and Earth, respectively. “O'Malley in particular used a gigantic wall of amps in the studio,” says Previte. “If you want that sound, you can't use a little stomp box, you have to actually move all that air. It was exhilarating to watch.” Twelve years in the making, Mass is the culmination of a long road for Previte. “I am super happy with how it turned out, as it is extremely difficult music to perform,” he says. “Each of the three pillars of the piece -- choir, metal trio, and pipe organ -- are operating within their own algorithms, their own keys, time and tempo. And the piece is written for them to be on parallel tracks but making a different fourth thing, dovetailing together on the cadences. Eventually we all began to be able to hear how it all worked, what notes the choir should be singing when you, as the guitarist, were on your third beat of your bar number 15, a 4/4 bar, at quarter note = 60, as they were in their 33rd bar of 6/8 in a completely different tempo. It sounds crazy. Well, it is crazy! But the design worked eventually, which is a testament to the musicians and their resilience.” Previte adds about his latest opus, “It has probably the greatest cover art I have ever had on any of my records. Astonishing work by, and all respect to, the artist, Hadi Nasiri.” Check out Mass , Previte’s most audacious recording to date, on RareNoise Records.

FOR INFORMATION :

 

giacomo@rarenoiserecords.com

 


**************************************

 

SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/bobby-previte-mass/s-hsJ6g **************************************

 

 


ARTIST

:

FREE NELSON MANDOOMJAZZ

TITLE

:

THE ORGAN GRINDER

FORMATS

:

SINGLE CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR068 (CD) / RNR068LP (LP)

BARCODES

:

5060197761004 (CD) / 5060197761011 (LP)

RELEASE DATES :

 

 

OCTOBER 21 ST 2016

 


MUSICIANS:

 

Rebecca Sneddon – saxophones Colin Stewart – electric bass Paul Archibald – drums and percussion (Piano on 5, Organ on 11) With the participation of Luc Klein – trumpet (2/5/6/9) Patrick Darley – trombone (4/6)

FOR FANS OF:

ALBERT AYLER, BLACK SABBATH

GENRES:

FREE JAZZ, JAZZ, DOOM, STONER ROCK

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Open The Gate You Are Old, Father William Funambule The Woods Calcutta Cutie LORA Bicycle Day Inferno Pt. 1 Shapeshifter Always Go Left In The Maze Om

TRACKLIST (LP) : A1. Open The Gate A2. You Are Old, Father William A3. Funambule B1. The Woods B2. Calcutta Cutie C1. LORA C2. Bicycle Day C3. Inferno Pt. 1 D1. Shapeshifter D2. Always Go Left In The Maze D3. Om

 

 


BLURB With the release of 2013‘s double EP/The Shape of Doomjazz To Come/Saxophone Giganticus, the renegade Scottish trio Free Nelson Mandoomjazz laid out its musical manifesto in bone-crunching terms and followed up in 2014 with the equally potent Awakening of a Capital. Both recordings showcased the Edinburgh-based musicians Colin Stewart (bass), Paul Archibald (drums) and Rebecca Sneddon (alto sax) in a provocative blend of doom metal and free jazz, influenced principally by such artists as Black Sabbath, Electric Wizard, Sun Ra, Sonny Rollins, Albert Ayler and Wayne Shorter. The band's sound has progressed with each new recording, and now with The Organ Grinder they take it up a couple of notches. While retaining the same intensely throbbing core that is at the heart of Free Mandoomjazz music, the addition of trumpeter Luc Klein and trombonist Patrick Darley on a few tracks brings new colors and textures to the proceedings. This is a bigger, bolder vision for the group without forsaking its punk-jazz essence. The band will be touring China October 2016 after some dates in Scotland at the end of September 2016. November they will be playing in Poland. FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/free-nelson-mandoomjazz-theorgan-grinder/s-r8r36 **************************************

 

 


ARTIST

:

OBAKE

TITLE

:

DRAUGR

FORMATS

:

SINGLE CD / SINGLE LP (180GMS)

CAT NO:

:

RNR067 (CD) / RNR067LP (LP)

BARCODES

:

5060197760984 (CD) / 5060197760991 (LP)

RELEASE DATES :

 

 

OCTOBER 28TH 2016

 


MUSICIANS:

Eraldo Bernocchi – baritone guitars Lorenzo Esposito Fornasari – voice, guitars, electronics Colin Edwin – electric bass Jacopo Pierazzuoli – drums

FOR FANS OF:

UFOMAMMUT, MORKOBOT, MASTODON

GENRES:

DOOM, GRINDCORE, AMBIENT, PROG-ROCK

TRACKLIST (CD) : 1. Cold Facts 2. Incineration Of Sorrows 3. Hellfaced 4. The Augur 5. Appeasing The Apparition 6. Serving The Alibi 7. Cloud Of Liars 8. Immutable 9. Draugr 10. Draugr (Leon Switch Remix) TRACKLIST (LP) : A1. A2. A3. A4. A5. B1. B2. B3. B4.

Cold Facts Incineration Of Sorrows Hellfaced The Augur Appeasing The Apparition Serving The Alibi Cloud Of Liars Immutable Draugr

BLURB After releasing their debut album in 2011, the self-titled ‘Obake’ and the follow-up ‘Mutations’ in 2014 to widespread acclaim of the British and continental press, Obake are back with ‘Draugr’, which signals both a return to the origins of the band and a purification of its sound.

 

 


This shift is immediately apparent in the choice of title: while the Japanese term Obake (お化け) signifies ‘that which changes’ or ‘shapeshifter’ or more generally ‘ghost of a departed’, now the chosen title for the band’s third release, ‘Draugr’ is a term of indoeuropean origin which means ‘creature returning from the dead’. The compactness and formal cohesion of band and release name reflect the newly found balance in the band, now featuring their live drummer Jacopo Pierazzuoli (of Morkobot and Kings Of Fire fame), Colin Edwin on electric bass (member of Metallic Taste Of Blood with Eraldo Bernocchi and of o.R.k. with Lorenzo Esposito Fornasari), Lorenzo Esposito Fornasari on guitars and voice and Eraldo Bernocchi on guitars. The multiplicity of collaborations between the members of Obake have enabled them to develop a compact and unique sound that is as extreme (in its doom and grindcore roots) as it is borderless (in depth explorations of ambient music accompanied by colorings of jazz , progressive rock and noise ); Obake’s sound brings the listener back to the roots of rock, along the way drawing vital lymph from Popol Vuh, AshRa Tempel , via Slayer, Sunn O))), Melvins and Coil. Draugr will available in all formats, from October 28 th 2016, and will also feature a remix by renowned British breakcore artist Leon Switch. (on the CD and as DOWNLOAD for the VINYL). FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/obake-draugr/s-WEVCt **************************************

 

 


ARTIST

:

GAUDI

TITLE

:

EP

FORMATS

:

10” WHITE VINYL EP

CAT NO:

:

RNR066LP

BARCODES

:

5060197760977

RELEASE DATES :

 

 

JULY 22 ND 2016

 


MUSICIANS:

GAUDI : minimoog, korg, theremin, programming COLIN EDWIN/BILL LASWELL/LORENZO FELICIATI : bass TED PARSONS/STEVE JANSEN : drums ERALDO BERNOCCHI : guitars ALESSANDRO GWIS : piano MERZBOW : noise, power electronics BRIAN ALLEN : trombone COPPE’ : voice

FOR FANS OF:

GAUDI, YOUTH, APHEX TWIN, DEEP FOREST

GENRES:

ELECTRONICA, CHILLOUT, DANCEFLOOR AMBIENT

TRACKLIST (LP) : A1. 30 Hz Dub Prelude B1. Electronic Impromptu in E-flat Minor BONUS DOWNLOAD : “Nocturnal Sonata”

BLURB This 10” Vinyl EP is the first manifestation of an exciting collaboration between London based music producer / performing artist Gaudi and the ever classy champions of genre-bending and experimental contemporary music, RarenoiseRecords. This hot-off-the-press taster, which will also be available in multiple DL formats, is an introduction to the forthcoming full length release, to be titled Magnetic, due to be released late Spring 2017 Gaudi, a much respected producer and performer with 15 studio albums under his belt, has been working to dissolve musical boundaries for over 35 years now, and is best loved and noted for his genre blending and high quality dub-centric productions. He has been let loose in the RareNoise vaults and has set himself the creational challenge of composing an album of entirely new music using the full palate of the RareNoise catalogue as his orchestra. Gaudi is no stranger to this kind of undertaking having previously taken on the challenge of composing and producing an album of new music working with vocal parts from archives of legendary Nusrat Fateh Ali Khan. The result of this multi-year endeavor, released with the title “Dub Qawwali”, earned him a nomination for a BBC World Music Award: It was not only a beautiful and sensitively handled piece of work, but also a landmark album in which the very concept of ‘remix’ was taken to the next level to become ‘re-composition’. In this respect, “Magnetic’ represents an even greater challenge than Dub Qawwali: the sheer breath of the source material offered by the RareNoise catalogue, which spans a high dimensional

 

 


manifold of genres, has stimulated and challenged Gaudi to work with a vast array of styles, instrumentation and flavors in order to create the master blend, a true challenge of distillation. Side A of this 10” Vinyl EP is home to the track “30Hz Dub Prelude” and there’s no mistaking from the first bar that this one is all about the bass - provided by psychedelic prog-rock artist Colin Edwins of Porcupine Tree fame. Drawing also from the rock side of the spectrum this track gets edge and pace from the drums of Ted Parsons from cult band Killing Joke. Guitars are by Eraldo Bernocchi and vocals by Japanese experimental vocalist Coppé are used as texture throughout and under the surface. Gaudi plays Minimoog, korg MS20 and fender rhodes. The trombone of Brian Allen (member of Brainkiller) draws you in and leads you as it meanders like a liquid brass river through the track. Side B is a more subdued affair. “Electronic Impromptu in E-flat Minor” is an evocative timeslip into subjective reverie. A melancholy piece featuring Bill Laswell and Lorenzo Feliciati on Bass. Electronic noises and textures are crafted by Masami Akita (aka Merzbow) and tremulous nostalgic guitar by Eraldo Bernocchi punctuates the soundscape. It is a deep, drawing track which is tense and moody in tone, but softened by the satie-esque piano of Alessandro Gwis and Gaudi’s trademark Theremin with it’s unmistakable and luring voice. Drums by Steve Jansen (the drummer from art pop band Japan) give the track a purposeful yet faltering pace which further reinforces the space and flavour of the track - it is a song of counterpoints, spacious yet introspective, dark yet with a hint whimsy. The list of artists who have lent their sounds and skills to the overall project reads like a ‘who’s who’ of musical talent and gives warranted indication as to the quality of the ingredients; Artists to be featured in the final full length release Magnetic will include Tony Levin (best known for his work on bass with King Crimson and Peter Gabriel), Pulitzer prize finalist and avant-garde jazz trumpeter Wadada Leo Smith, ambient music legend and master of sonic experimentalism Harold Budd, Pat Mastelotto (drummer from XTC, David Sylvian, King Crimson, Sugar Cubes), experimental guitarist Buckethead (Guns ’n’ Roses, Bootsy, Iggy Pop) and internationally acclaimed Italian born jazz trombonist Gianluca Petrella to name but a few.

FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/gaudi-ep/s-Ngxed **************************************

 

 


ARTIST

:

NEW ZION W. CYRO

TITLE

:

SUNSHINE SEAS

FORMATS

:

SINGLE CD / DOUBLE LP (2X180GMS)

CAT NO:

:

RNR065 (CD) / RNR065LP (LP)

BARCODES

:

5060197760953 (CD) / 5060197760960 (LP)

RELEASE DATES :

 

 

APRIL 29 TH 2016

 


MUSICIANS:

JAMIE SAFT – ALL KEYBOARDS, GUITARS, ELECTRIC BASS CYRO BAPTISTA – PERCUSSION, VOCALS BRAD JONES – ACOUSTIC BASS CRAIG SANTIAGO – DRUMS VANESSA SAFT – VOCALS ON “SUNSHINE SEAS”

FOR FANS OF:

NEW ZION TRIO, KING TUBBY, BUNNIE WAILER

GENRES:

CHILLOUT JAZZ, DUB, REGGAE

TRACKLIST (CD) :

1. 2. 3. 4 5. 6. 7. 8. 9.

TRACKLIST (LP) :

A1. BRAZILJAH A2. CHALICE PIPE A3. MYSTICS

BRAZILJAH CHALICE PIPE MYSTICS SUNSHINE SEAS GROWING GROW ONDA RANKING LAMB’S BREAD SAMBA JAHMEKYA

B1 SUNSHINE SEAS B2. GROWING GROW C1. ONDA C2. RANKING D1. LAMB’S BREAD D2. SAMBA JAHMEKYA

BLURB In recent years, Jamie Saft’s signature musician-polymath touch has graced numerous recordings released by RareNoise, spanning a high dimensional manifold of genres, from the microtonal metal of Slobber Pup’s Black Aces , Pole Axe and The Spanish Donkey’s Raoul to the pure analog acoustic piano trio sounds of Saft/Swallow/Previte’s The New Standard to the lysergic free rock of

 

 


Plymouth , to recent collaborations with masters Roswell Rudd and Wadada Leo Smith . With Sunshine Seas , the New Zion Trio’s latest project (and RareNoise debut), Saft further builds on the success of New Zion's first two releases “Fight Against Babylon” and “CHALIWA” (Veal Records). Saft not only supplies all the piano and an assortment of vintage keyboards and synths, he also plays all the electric bass and guitar parts on this heavy Dub influenced recording. Brazilian percussionist Cyro Baptista, a longtime colleague of Saft’s, adds his signature percussive flavors and ebullient presence on such mesmerizing dub groove tracks as the opening “BrazilJah” and the beguiling “Chalice Pipe”, which has Baptista on vocals and cuica and Saft comping in a gentle bossa nova vein on acoustic guitar. The darkly insinuating “Onda” features Baptista’s massive ceramic drum work and has him singing in Portuguese about waves on the beach in a flow metaphor which deftly captures the feeling of this evocative track. The heavy dub track “Ranking” is a prime showcase for Cyro’s mastery of the jaw harp (or Jew’s harp). Saft’s wife Vanessa adds alluring vocals on the lovely title track Sunshine Seas . Brad Jones anchors three tracks -- “Chalice Pipe,” “Sunshine Seas” and “Lamb's Bread” -- with deep upright bass grooves . And drummer Craig Santiago supplies the all-important one-drop, Rockers, and Steppers grooves to fuel this potent session Saft explains that his affinity for Jamaican music took hold decades ago. “Reggae and dub music have been an essential part of my musical direction since I was a youth. Growing up in the New York City area, we listened to Bob Marley, Peter Tosh, Stevie Wonder and Bunny Wailer. I later became obsessed with King Tubby’s sound and his disciple Scientist. These were producers who used the recording studio and mixing console as a musical instrument. The greatest dub producers and artists shape the sound of their work by using

 

 


the audio gear as musical devices to shape the tone. Delays, reverbs, modulation devices, compression and saturation devices: these are all tools in the toolbox of the greatest dub artists. Additionally, I feel extremely fortunate to have worked with many true masters of Reggae music, including the living legends Bad Brains. Having the opportunity to learn with true masters like Darryl Jenifer and Dr. Know of Bad Brains has deeply informed how I think about and shape music every single day.” FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/new-zion-w-cyro-sunshineseas/s-FLgcl VIDEOS https://www.youtube.com/playlist?list=PL8pw8e2GsFVOHjTgyHrK1Ig4UlBrKTsd **************************************

 

 


ARTIST

:

CHAT NOIR

TITLE

:

NINE THOUGHTS FOR ONE WORD

FORMATS

:

SINGLE CD / SINGLE LP (180GMS)

CAT NO:

:

RNR064 (CD) / RNR064LP (LP)

BARCODES

:

5060197760939 (CD) / 5060197760946 (LP)

RELEASE DATES :

 

 

CD: JUNE 17TH

 


MUSICIANS:

Michele Cavallari : keyboards, piano, fx Luca Fogagnolo: el bass, upright bass, trombone J.Peter Schwalm : electronics, beats, keyboards, acoustic guitar guests: Daniel Calvi: el.guitars, acoustic guitars, lap steel guitar (3/4/7) Alessandro Tomaselli: voice and lyrics (3)

FOR FANS OF:

CHAT NOIR, DJ SHADOW, ESBJORN SVENSON TRIO

GENRES:

JAZZ TRIO, ELECTRONICA, DANCEFLOOR

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8. TRACKLIST (LP) :

A1. A2. A3. A4. B1. B2. B3. B4.

Eternally Tranquil Light Fundamental Mind Momentary Continual Blinking Neon Detuning Leaves Uneven Soft Ground Crystallized Flow Eternally Tranquil Light Fundamental Mind Momentary Continual Blinking Neon Detuning Leaves Uneven Soft Ground Crystallized Flow

BLURB The adventurous trio Chat Noir has for the past 12 years defied easy categorization with its organic mix of ambient music, electronic textures as well as chamber music and jazz. Their singular approach to the piano trio, cinematic in scope and startlingly beautiful, has garnered critical raves throughout Europe. On Nine Thoughts for One Word, their sixth recording overall and second for Londonbased RareNoise Records, the two founding members, pianist Michele Cavallari and bassist Luca Fogagnolo, are joined in their

 

 


further explorations by electronic/ambient music composer and producer Jan Peter Schwalm (Brian Eno, Eivind Aarset). Together they make a conceptual leap on what a piano trio can be, with the invaluable input of Schwalm’s studio magic. This delicate balance of electronic experimentalism with acoustic piano and acoustic bass has been evolving gradually from the group’s initial release in 2006, Adoption, and continued on 2007’s Decoupage through 2008’s Difficult to See You. 2011’s Weather Forecasting Stone and 2014’s Elec3Cities. Their collective experimentation continues on the evocative Nine Thoughts for One Word. “Experimentation has always been a fundamental part of our work,” says bassist Fogagnolo. “We would describe our journey as a ship adrift. If jazz was our starting point we’ve always felt free to explore different languages.” From the dramatic peaks of “Eternally Tranquil Light,” grounded by the resonant, woody tones of Fogagnolo’s upright bass, to the lyrical delicacy of Cavallari’s piano on “Fundamental Mind,” from the throbbing techno vibe of “Blinking Neon” to the Indonesian gamelan flavored introspection of “Detuning Leaves” and the mesmerizing trip-hop of “Uneven” and “Soft Ground,” Chat Noir explores myriad musical languages on Nine Thoughts for One Word. They also offer a very pleasing vocal number, “Momentarily Continual,” which is underscored by the pure, resonant tones of Fogagnolo’s upright bass, and they close out the program on a gentle note with Cavallari’s sparse piano work on the hymn-like “Crystallized Flow.” “This album has more spatial sound and compositions, which in turn may sound (paradoxically) more ‘acoustic’,” Cavallari explains. “‘Crystallized Flow’ is pointing towards this different, more spacious dimension, which is also linked to the new lineup and to the role that J. Peter in particular had in our project.” Though Schwalm trained as a drummer, he is now playing mainly electronic instruments and music. “We met him at a festival in

 

 


Norway (Punkt 2008) and immediately fell in love with his style,” Cavallari recalls. “As we rearranged our lineup about one year ago, we decided to ask him for collaboration. For Luca and I, it was a natural choice to abandon the classic piano-bass-drums format and try something different, but in line with the evolution of our style, which incorporated more and more electronic textures over the years. Peter brought in his experience with sound processing and treatments, as well as his personal taste as co-producer of the album. Given his strong background in ambient music, his participation in the project sound-wise contributed to the very spacious dimension of the album, in line with the already ethereal vibe of the compositions.” As for his longstanding musical relationship with Fogagnolo, Cavallari says, “Luca and I are good old pals. Our friendship and music collaboration informs one another. On the one hand, music made our friendship even stronger. On the other hand, we can rely on shared ideas about music, and even more generally about life, when playing together. It’s a constant dialog of spoken as well as unspoken words. “We often have similar taste for music,” he continues. “But more importantly, when coming from different musical references and preferences, Luca and I have contributed even more to each other’s musical ideas and ways to perform.” Cavallari adds that his method of playing and recording together with Fogagnolo changed radically four years ago when the two Italians relocated to different countries -- Michele to the United States and Luca to Germany. “Our rehearsal room changed from being a shared space, where we used to physically meet quite often, to a virtual place. Nine Thoughts for One Word is our second album recorded through cloud-based sharing of music ideas and sessions. This wouldn’t have been possible without a long-term relationship. But somehow the distance helped to develop even more our personal taste, before sharing ideas for new tunes as

 

 


we’ve always done. In the process of developing new tunes, we can count on a strong shared basis, established throughout our long collaboration, as well as on a naïve attitude and openness towards different ideas, and potentially surprises.” He further describes the group’s modus operandi on Nine Thoughts for One Word: “Our approach is to try to understand where the composition is pointing to and to give meaningful contribution to it, by either contrasting or corroborating the original idea. Basically, the process we follow to compose and play together is grounded in the root of two essential and mutually reinforcing aspects: friendship and freedom.” Cavallari also explains that he and Fogagnolo have joint experience working on soundtrack recordings, which may explain why so much of their music has such a cinematic quality. “We did work on movie soundtracks in the past. Some of our tunes were featured in Cristina Comencini’s films – Don’t Tell (nominated for best foreign language film category at the 78 th Academy Awards) and Black and White – as well as Francesca Comencini’s documentary In Fabrica. Our music has often been associated with cinematic features. Rather than thinking visually when composing, I guess we approach compositions in away that has similarities with film direction. We try to develop ‘stories’ and ‘plots’ through melodic lines and sometimes more abstract parts that overall follow a dynamically organized flow. “As to the our way to approach compositions, either one of us usually ‘plants the seed’ of a new tune on his own. Then, from the original basic idea, we let the other totally express himself without limitations. Sometimes we go through multiple iterations of sending music ideas back and forth between us, as additional contributions can inspire new direction of the tune. It never happens that we don’t like what the other brought in terms of contribution to the song. In this sense we are totally connected.” It is easy to see how such kindred spirits continue to collaborate

 

 


and thrive, even when living on separate continents. And together with ambient mixmaster Schwalm, they travel to some wholly new musical territory on Nine Thoughts for One Word, the most transcendent Chat Noir release to date. FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/chat-noir-nine-thoughts-forone-word/s-yAeOb **************************************

 

 


ARTIST

:

MAGNET ANIMALS

TITLE

:

BUTTERFLY KILLER

FORMATS

:

SINGLE CD / SINGLE LP (180GMS)

CAT NO:

:

RNR063 (CD) / RNR063LP (LP)

BARCODES

:

5060197760915 (CD) / 5060197760922 (LP)

RELEASE DATES :

 

 

JUNE 17 TH 2016  

 


MUSICIANS:

Todd Clouser: guitars, vocals Eyal Maoz: guitar Shanir Ezra Blumenkranz: bass Jorge Servin: drums

FOR FANS OF:

A LOVE ELECTRIC, ABRAXAS, MARS VOLTA

GENRES:

ALTERNATIVE ROCK, AMERICANA

TRACKLIST (CD) :

1. HEADPHONE GIRLS 2. ATAYDE 3. MARTHA FEVER 4 BABY GODS 5. BUTTERFLY KILLER 6. I GIVE UP AND LOVE SOMEBODY 7. STATE OF MY FACE 8. BILL BORROUGHS 9. LITTLE JOHN THE LIAR 10. IGUAL PERO PEOR

TRACKLIST (LP) :

A1. A2. A3. A4 A5.

HEADPHONE GIRLS ATAYDE MARTHA FEVER BABY GODS LITTLE JOHN THE LIAR

B1. B2. B3. B4.

BUTTERFLY KILLER I GIVE UP AND LOVE SOMEBODY STATE OF MY FACE IGUAL PERO PEOR

BLURB On the heels of his genre-defying A Love Electric trilogy and subsequent song project, Man With No Country , guitarist-composerpoet-lyricist C Todd Clouser joins forces with drummer Jorge Servin and the potent one-two punch of Abraxas guitarist Eyal Maoz and bassist Shanir Blumenkranz in forming Magnet Animals. Their slamming and startlingly unique debut, Butterfly Killer -- full of skronking noise guitars of blast furnace intensity and stream of conscious raps over righteous riffs and humungous backbeats -stands as one of the most strangely compelling outings in the

 

 


extensive and wildly eclectic catalog of London-based RareNoise Records. From the opening salvo of “Headphone Girls” to the jarring punk-funk of “Martha Fever,” the eerie Ennio Morricone-styled spaghetti western vibe of “I Give Up And Love Somebody” and the sinister title track, Butterfly Killer sidesteps convention at every turn while boldly stepping to a different kind of muse. Throw in a B-52sstyled ‘80s dance party number (“Igual, Pero Peor”), a throbbing jam with a haunting, an evangelist preacher styled incantation (“Little John The Liar”) and an ode to a late junkie author/hipster (“Bill Burroughs”) and you have one of the most daring, fully self-realized creations of the current year. Credit Clouser with creating the vehicle for such a powerful statement to take place. “The Magnet Animals record is very impulsive,” explains the auteur. “With the A Love Electric records, we write, re-write, edit, produce, cut tunes in half and tour together on 120 dates a year. With Magnet Animals, I wanted to get back to just a creative impulse, honoring that, expressing, and moving on. I wrote the tunes in one weekend in a cabin a week before we had the tour planned. We played a week’s worth of shows, recorded on the last day in about an 8-hour session. I took the sessions to Minneapolis to mix, and that was it. I wanted it to be fast, a reflection of the personalities of the players and their instincts, and not think myself out of what I needed to say, and what this group was on its first impulse, instinctively.” Regarding his role as principal wordsmith and narrator of the vivid imagery conjured up throughout Butterfly Killer, Clouser says, “I like lyrics that can survive as poetry -- just on the page. I’m not sure if I am a poet or a lyricist but words are important to me. If I am going to use them, I want them to have purpose. Sometimes it’s in humor, like on ‘Headphone Girls.’ I travel a lot and there are all these thousands of headphones they sell all over airports now -every color and size and sales pitch, and its a trip! So I wrote that

 

 


‘look at me listening’ little line when I was in the Atlanta airport on A Love Electric tour and thought it was fun to sing, or talk. Other times, like on ‘Atayde,’ there is this tremendous nostalgia and some kind of sadness to the words. Atayde is the name of a family circus in Mexico City and their circus tent was just ripped down, It was giant, big and blue, with a ball that looked like a clown’s shoe on top. It’s like a whole block long and it’s located right where all the hookers hangout on paydays, on Tlalpan. There’s so much absurdity there that somehow there is beauty and calm in it, like complete resignation to our human instincts, failures, all of it. So that was an easy and kind of emotional song to write. That’s really more of a spoken piece. In the end, I think it’s just about observing and trying to find the humanity, the emotion, in whatever I want to write about.” Clouser details his connection to the three other intrepid improvisers and skilled musicians who comprise Magnet Animals. “Eyal and I have talked about playing together for years and when I was on tour with A Love Electric I visited his apartment a couple times and we just set up and improvised. He is so fearless and himself. He kind of plays how Mexico City sounds to me. I played with Shanir Blumenkranz at the John Lurie tribute show at NYC Town Hall with Billy Martin and John Medeski. We played Marvin Pontiac songs from that Lurie record (1999’s The Legendary marvin Pontiac: Greatest Hits ). Shanir is so scouted when he plays and his feel is so warm. We got along well and talked about doing something together at some point. I have played now with a lot of the ‘Downtown scene’ heroes, including John Zorn, Cyro Baptista, Medeski Martin & Wood, and always crossed paths with Shanir. It seemed like it was time to play together.” Though Clouser wrote all of the songs on Butterfly Killer , he says the recording is very much a product of everyone’s contributions. “With other players, this could be a corny fusion record, the way the tunes are written. It had to be a crew of guys willing to get into the dirt. Much of what we did and what we captured on record is about the energy of the performance, the risk,

 

 


knowing we are reading tunes but we are free to abandon them in dramatic ways. Shanir had a big hand in arranging the tunes and working out feels. He’s so good at that. Eyal has such a strong and unique voice, it’s like having an electric piano player, theremin player and jazz guitarist all at once.” And while modernists may point to the influence of guitar shredders like Sonny Sharrock or Nels Cline or Sonic Youth’s Thurston Moore in the skronking metallic interplay heard on harsh tunes like “Headphone Girls,” “Martha Fever” and “State of My Face,” Clouser explains that the influence actually goes back much further. “A lot of it, honestly, is old Delta blues, the voices as much as the guitars. Listening to Skip James sing, going back to a lot of the Alan Lomax recordings of prison song, field song, gospel...that raw feel is all there. That being said, I grew up in the late 90’s, so Sonic Youth was an influence as well as a lot of the NYC downtown stuff I started to listen to. I liked the personality and personalities of it. People there had something to say that I related to. I have spent a lot of time with old blues records and psych rock records, some of the Brazilian psych rock stuff and Os Mutantes, and then, of course, hip-hop.But I have a background in jazz, knowledge of these harmonies, and spent time playing Thelonious Monk music, so some of that creeps in as well.” Clouser also explains that the sparse, lonely, vaguely Americana feel that comes across on tunes like "Atayde" and "I Give Up And Love Somebody” comes from his Midwestern upbringing. “I was born in Kansas City and grew up in Minneapolis. Though I live in Mexico City now, I can only run so far from driving up and down highway 35 through the cornfields, Flying J travel centers, and listening to unreasoned preachers and minor league baseball games on the radio. I did so many van tours up and down that highway, you have time to write. I would write for hours if I wasn’t driving, just looking around and being romantic about something so many people are so dismissive of. You find romance, resignation there in the simple. The Coen Brothers are great at putting that to story and film.

 

 


I love that kind of Americana when it sounds in music.” As for the kind of evangelical fervor that he takes on in his spoken word rants on “Little John the Liar” and the title track, Clouser explains that it comes from the deepest recesses of his childhood. “It’s just a character, but I do think I am perhaps unhealthily drawn to talking about religion, Jesus and preaching in my music. My parents, who I love so much, sent me to Sunday school when I was kid, which I hated so much. It was horrible. I knew they were lying to me and I was stand-offish. So I think sometimes I still haven’t gotten over that, and gotten over this whole disillusioned idea of a savior who makes you right even when you are wrong. So maybe I lash out in music, or in what I write, or how I sing it. Sometimes the lash is to caricature-ize the ‘preacher.’ I also think having listened to a lot of spiritual music, a lot of gospel, early jazz, Max Roach’s Freedom Now Suite , these types of records, I am drawn to this sort of prophetic voice, and emoting that way.” Her further explains that “Bill Burroughs” was an homage to someone he greatly admired and felt a kinship with. “I never met him. I didn’t share much time on Earth with him but I live about a mile away from where he did when he was in Mexico City. I love his writing. His story is tragic and heroic and offensive and teaching. I almost died from being an addict and I am gay. That’s two big ones. From there on, its pretty easy to relate.” Of his current place of residence, Clouser couldn’t be happier. “In Mexico City I fell into a great thing. I had no plans to live there but I met two musicians, Hernan Hecht and Aaron Cruz, and that became our group A Love Electric. This was about three years ago. We all had the same impetus, to go out and share our music wherever we could but in the most human, non-pretentious way possible. For example, we just got a grant from he US Embassy some months ago. We had offers to take it and go to a couple big festivals for free or a reduced rate. We decided to go to Honduras, Nicaragua and South Mexico and play in community centers and

 

 


bars instead. And I would do that again in a second, and these two guys are the same way. “There are songs everywhere in this city. I have been assaulted by way too many ideas since I moved here that I am still trying to sort through and make records or bands or whatever might be next. There is an energy here that I am attracted to, a chaos, but at the same time something very human. Because at some point you have to help each other out or the whole thing is going to blow up and the city will drown in itself. And now touring a lot in Mexico, going to places like Oaxaca up in the mountains to work with traditional wind musicians, or on the Yucatan to a town where Maya is the only language spoken, these things are fascinating, invigorating, exciting. I am able to learn by living all day long, and when that is happening there is no escape from inspiration.” It takes an inspired person to come up with something as audacious and uncompromising as Butterfly Killer . Clouser and his Magnet Animals crew deliver goods on this provocative new release on RareNoise Records. FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/magnet-animals-butterflykiller/s-OKj3K

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ARTIST

:

WORLDSERVICE PROJECT

TITLE

:

FOR KING & COUNTRY

FORMATS

:

SINGLE CD / SINGLE LP (180GMS)

CAT NO:

:

RNR062 (CD) / RNR062LP (LP)

BARCODES

:

5060197760892 (CD) / 5060197760908 (LP)

RELEASE DATES :

CD: APRIL 29 TH 2016 / LP: MAY 20 TH 2016 NOTE : DIFFERENT DATES

 

 


MUSICIANS:

DAVE MORECROFT : KEYBOARDS, VOCALS TIM OWER : SAXOPHONE RAPHAEL CLARKSON : TROMBONE, VOCALS ARTHUR O’HARA : BASS HARRY POPE : DRUMS

FOR FANS OF:

MELT YOURSELF DOWN, NELS CLINE SINGERS

GENRES:

PUNK JAZZ

TRACKLIST (CD) :

1. 2. 3. 4 5. 6. 7. 8.

TRACKLIST (LP) :

A1. A2. A3. A4

FLICK THE BEANSTALK FUMING DUCK MURANO FARO SON OF HAUGESUND

B1. B2. B3. B4.

GO DOWN HO’SES CHAMONIX MR GIGGLES REQUIEM FOR A WORM

FLICK THE BEANSTALK FUMING DUCK MURANO FARO SON OF HAUGESUND GO DOWN HO’SES CHAMONIX MR GIGGLES REQUIEM FOR A WORM

BLURB Following in the tradition of such renegade composers as Frank Zappa, Charles Mingus, Igor Stravinsky and Harrison Bertwhistle, Dave Morecroft seeks a spot in the musical firmament that is decidedly left of center. And as keyboardist and principal composer for the edgy London-based avant-funk-jazz quintet WorldService Project, he is striking a blow upside the head of musical complacency. On For King & Country, the group’s RareNoise debut and third release overall, the powerhouse aggregation cuts across

 

 


stylistic boundaries with impunity and a decided ‘punk-jazz’ attitude. As Morecroft explains, “Punk-jazz for me is more a reflection of rebellion. Maybe it’s jazz but it’s played with an 'f-you' to the establishment/systems that dictate what jazz is supposed to mean or be.” The album will be released on April 29 th and will be available on CD, vinyl and digital download. He further describes the do-or-die presence that the band adopts onstage. “WorldService Project is a very intense, high-energy live show. We throw ourselves into it and hope to come out alive at the other end. And if you're not bleeding by the end of it, you haven't tried hard enough.” That killer instinct is conveyed from track to track on For King & Country (the title itself is a kind of ironic nod to the band’s British ancestry). From the prog-rockish tumult of the opener “Flick the Beanstalk” to the moody closer “Requiem for a Worm,” WorldService Project carries a pronounced crunch while injecting daring improvisations and myriad punk-jazz expressions into the mix. Joining Morecroft on this follow-up to 2012’s Fire In A Pet Shop are tenor sax burner Tim Ower, trombonist Raphael Clarkson, bassist Arthur O’Hara and drummer Harry Pope. Says Morecroft of this audacious WSP outing, “I wanted For King & Country to be an epic listen, that from moment to moment it could rage intensely, pull at heartstrings, flip in double somersaults around the room or sardonically sneer at the establishment. It is an incredibly personal record for me (much more than any other) with true heartbreak, anger, loss, disillusionment, ecstasy and piss-taking a-plenty! But at its heart (I hope), purity of gesture, intensity and sincerity.” The slamming odd-metered piece “Fuming Duck,” for instance, is indeed an epic listen. Underscored by O’Hara’s fuzz bass lines melding with Clarkson’s electric trombone for an uncommonly heavy bottom end, it hits as hard as King Crimson’s “Red” while suggesting something far jazzier. Pope’s monstrous drum solo over the band ostinato at the end of this raging piece is an adrenalized

 

 


highlight. Likewise, “Murano Faro” slowly builds from something dreamy and distant to a throbbing crescendo with Clarkson’s trombone wailing over the top in half-time. “Son of Haugesund” is a blast of intensity to match anything on Led Zeppelin III while the frantic, tempo-shifting “Go Down Ho’Ses” carries the zany energy of a ska band conducted by Frank Zappa. Ower’s passionate sax solos on this unhinged number and on the dramatic “Chamonix” are both exceptional. And on “Mr. Giggles,” at once humorous and scary, Morecroft unveils the cartoonish vocals of the title character (a sinister clown alter ego that he introduced on Fire In A Pet Shop) against a clamorous undercurrent. The closer, “Requiem for a Worm,” opens on a restful, introspective note with Ower blowing breathy tones against a gentle backdrop. Midway through, the mood shifts as the piece gradually builds to a slamming, fuzz-laden crescendo of epic proportions. FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/worldservice-project-forking/s-GFFDC

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ARTIST

:

MERZBOW, KEIJI HAINO, BALAZS PANDI

TITLE

:

AN UNTROUBLESOME DEFENCELESSNESS

FORMATS

:

SINGLE CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR061 (CD) / RNR061LP (LP)

BARCODES

:

5060197760878 (CD) / 5060197760885 (LP)

RELEASE DATES :

 

 

JULY 22 ND 2016

 


MUSICIANS:

MERZBOW : electronics KEIJI HAINO : guitar, electronics, occasional vocals BALAZS PANDI : drums

FOR FANS OF:

MERZBOW, KEIJI HAINO

GENRES:

NOISE, POWER ELECTRONICS, EXTREME MUSIC

TRACKLIST (CD) : 1. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part I) 2. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part II) 3. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part III) 4. How differ the instructions on the left from the instructions on the right? (Part I) 5. How differ the instructions on the left from the instructions on the right? (Part II) 6. How differ the instructions on the left from the instructions on the right? (Part III) 7. How differ the instructions on the left from the instructions on the right? (Part IV) TRACKLIST (LP) : A1. Why is the courtesy with the courtesy of the A2. Why is the courtesy with the courtesy of the

of the prey always confused hunters…(Part I) of the prey always confused hunters…(Part II)

B1. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part III) C1. How differ the the instructions on C2. How differ the the instructions on

instructions on the left from the right? (Part I) instructions on the left from the right? (Part II)

D1. How differ the instructions on the left from the instructions on the right? (Part III) D2. How differ the instructions on the left from the instructions on the right? (Part IV)

 

 


BLURB The renowned Japanese electronic maestro Merzbow (aka Masami Akita) joins forces with his fellow countryman Keiji Haino and Hungarian drummer Balazs Pandi on another example of extreme sonic experimentation in the form of An Untroublesome Defencelessness. Merzbow and Pandi, who have been playing together since 2009 and previously collaborated on two RareNoise Records releases -- 2013’s Cuts (with Swedish free jazz saxophonist Mats Gustafsson) and 2015’s Cuts of Guilt, Cuts Deeper (with Sonic Youth guitarist Thurston Moore) - push the envelope once again with improv singer and noise guitarist Haino. The resulting sound is a relentlessly intense cauldron of caustic power chording, adrenalized blast beats and double bass drum thunder, and grinding white noise fusillades, courtesy of this fearsome threesome. While some might call it noise, Merzbow offered this explanation in a New York Times interview: “Noise is the unconscious of music.” Together these three intrepid explorers plumb the depths of the unconscious on An Untroublesome Defencelessness, which is comprised of the three-movement suite “Why is the courtesy of the prey always confused with the courtesy of the hunter” and the four-part “How different the instructions of the left from the instructions of the right.” And to Pandi, this outing, like all of Merzbow’s singular sonic experiments, remains “music of great mystery.” In a post-Cage-ian world where there are no wrong notes – in fact, no notes at all, just silence and the absence of silence – the enigmatic Merzbow is a Magellan of sound, fearlessly traveling uncharted waters on each new project he undertakes (he has made over 350 recordings since

 

 


1979). Born on December 19, 1956 in Tokyo, he was originally attracted to rock guitarists like Jimi Hendrix, Lou Reed and Robert Fripp, and later was influenced by free jazz icons Albert Ayler, Cecil Taylor and Frank Wright as well as electronic music pioneers like Karlheinz Stockhausen and Iannis Xenakis. “Then I found the forum for mixing these influences into pure electronic noise,” he said in a 1999 interview with EsoTerra Magazine: The Journal of Extreme Culture. “I was trying to create an extreme form of music.” Merzbow has found a true kindred spirit in Pandi, who has become a kind of ‘house drummer’ for RareNoise Records, appearing on projects by Obake, Metallic Taste of Blood and Slobber Pup as well as vibrant recordings with saxophonist Ivo Perleman (Onc), trumpeter Wadada Leo Smith (Red Hill) and trombonist Roswell Rudd (Strength & Power). Says the flexible drummer of his highly conversational approach with his avant garde partner Merzbow: “The chemistry between us was there right from the very beginning. Masami has been flirting with the idea of live drums on his shows for a while as he is a drummer himself, but according to him, the metal drummers were too much in the autopilot zone and jazz drummers were not intense enough and couldn’t keep up with volume. My way of playing was fitting his music perfectly, as I play both improvised music that is changing shape all the time and heavy amplified music. We don’t have things anchored, we just have a continuously expanding vocabulary and we pay attention to each other and find immediate hooks in each other’s playing.” Adds the Prague-born drummer, whose endurance and sheer intensity throughout An Untroublesome Defencelessness is nothing short of awesome, “I

 

 


approach these live recordings with Masami and Haino as meditation and let the sound carry my body and mind through these concerts and recordings. l let my spirit take over my body rather than using power or force consciously.” Pandi explains that the remarkable versatility he has displayed on this and other RareNoise Recordings, whether it's playing brushes with Wadada Leo Smith, underscoring Roswell Rudd with an African-flavored momentum or playing with slamming, full-tilt abandon with Obake and Slobber Pup, derives from his musically rich upbringing in Budapest. “When I was nine years old, I got introduced to black/death metal by a friend at music school and also started my studies as a classical percussionist. At age ten I joined a youth orchestra where we played everything from marching music to operas up to contemporary composers pieces. Because of this, I appreciated different music by itself before getting into a certain scene or genre too deep.” This open-minded musical aesthetic ultimately led to the expanded vocabulary that now manifests in a variety of gigs for the versatile drummer. And he loves to mix up his wideranging vocabulary from session to session. As he explains, “It can be interesting sometimes to add some random blast beats to a more sensitive recording with Wadada, just as its great to figure out how to leaves spaces open in an intense musical environment to create a certain tension.” The third member of this formidable triumverate, singersongwriter-guitarist Keiji Haino, had previously worked with Merzbow under the moniker Kikuri. The idea of collaborating with Keiji on An Untroublesome Defencelessnes goes back to 2010. As Pandi explains, “When Masami and I did a gig in Osaka back then, we

 

 


threw a couple ideas back and forth and decided that it would be great to try and form a trio with Haino-san. Keiji is like an infinite well of ideas. It’s incredible how he can push music and sounds into new directions. Sounds coming from him have way more qualities than the ones coming from most musicians, as he uses every possible way to alternate sounds and give them extra qualities that people just don’t know about.” And they make scintillating music together on the live-inthe-studio recording An Untroublesom Defencelessness, yet another mind-blowing addition to the burgeoning RareNoise Records catalog. FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/merzbow-keiji-haino-balazspandi-an-untroublesome-defencelessness/s-GeKyV **************************************

 

 


ARTIST

:

ROSWELL RUDD, JAMIE SAFT, TREVOR DUNN, BALAZS PANDI

TITLE

:

STRENGTH & POWER

FORMATS

:

SINGLE CD / DOUBLE LP (2X180GMS)

CAT NO:

:

RNR060 (CD) / RNR060LP (LP)

BARCODES

:

5060197760854 (CD) / 5060197760860 (LP)

RELEASE DATES :

 

 

FEBRUARY 26TH 2016

 


MUSICIANS:

ROSWELL RUDD – TROMBONE JAMIE SAFT – PIANO TREVOR DUNN – ACOUSTIC BASS BALAZS PANDI - DRUMS

FOR FANS OF:

FREE JAZZ, ROSWELL RUDD, JAMIE SAFT

GENRES:

JAZZ, FREE JAZZ, FREE MUSIC, IMPROVISATION

TRACKLIST (CD) :

1. 2. 3. 4. 5. 6.

TRACKLIST (LP) :

A1. STRENGTH & POWER

STRENGTH & POWER COBALT IS A DIVINE THE BEDROOM LUMINESCENT DUNN’S FALLS STRUTTIN’ FOR JAH JAH

B1. COBALT IS A DIVINE C1. THE BEDROOM C2. LUMINESCENT D1. DUNN’S FALLS D2. STRUTTIN’ FOR JAH JAH

BLURB In a remarkable example of uncanny group-think, pianist-keyboardist and RareNoise regular Jamie Saft (Metallic Taste of Blood, Slobber Pup, Plymouth, The New Standard, Red Hill) joins with longtime collaborators Trevor Dunn on bass and Balazs Pandi on drums and master trombonist Roswell Rudd on the astounding, purely improvised Strength and Power . Recorded live in Saft’s home studio near Woodstock, New York, this intergenerational offering features the 44-year-old pianist, 47-year-old bassist, 32-year-old Hungarian drummer and 80-year-old avant garde pioneer blending organically, telepathically on a set of conversational music running the gamut of

 

 


dynamics and emotions. The revered trombonist, who came up playing Dixieland or traditional jazz music while attending Yale University in the mid 1950s and later made his mark in the free jazz world through collaborations with Cecil Taylor, Archie Shepp, John Tchicai and longtime collaborator Steve Lacy, is a formidable presence on this recording. Whether it’s his lyrical playing on the spacious ballad “Luminescent,” his unrestrained blowing on a surging “The Bedroom,” his conversational plunger work on “Cobalt Is a Divine” and the title track or his early New Orleans tailgate-styled testifying on “Struttin’ for Jah Jah,” Rudd’s trombone resounds with history, humor and humanity. Dunn provides thick grooves and potent contrapuntal lines throughout (particularly when he is paired in a duet with Rudd on “Dunn’s Falls”) while Pandi propels the proceedings with kinetic backbeats and swinging momentum. FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/roswell-rudd-jamie-saft-trevordunn-balazs-pandi-strength-power/s-Msdzx **************************************

 

 


ARTIST

:

J.PETER SCHWALM

TITLE

:

THE BEAUTY OF DISASTER

FORMATS

:

SINGLE CD / DOUBLE LP (2X140GMS) (BOTH WITH BOOKLET)

CAT NO:

:

RNR059 (CD) / RNR059LP (LP)

BARCODES

:

5060197760830 (CD) / 5060197760847(LP)

RELEASE DATES :

 

 

FEBRUARY 26TH 2016

 


MUSICIANS:

J.PETER SCHWALM – GUITARS, PIANOS, ELECTRONIC DEVICES, ACOUSTIC AND DIGITAL SOUND MODULES, MIXING DESKS, DRUMS AND SYNTH TIM HARRIES – BASS MARTIN FRANCE - DRUMS EIVIND AARSET - GUITARS MICHAEL WÖLLNY – PUMP ORGAN CHRISTINE SCHÜTZE - PIANO NELL CATCHPOLE - VIOLA

FOR FANS OF:

BRIAN ENO, GYÖRGY LIGETI, J.PETER SCHWALM

GENRES:

AMBIENT MUSIC, ELECTRONIC MUSIC, ELECTROACOUSTIC MUSIC

TRACKLIST (CD) :

1. THE ANXT CODE 2. HIMMELFAHRT 3. THE BEAUTY OF DISASTER 4. NUMBERS BECOME STORIES 5. STILLE, BLITZ UND DONNER 6. ZIRKELTRILOGIE 7. WUNSCHKLANGREGISTER 8. THE END AND THE BEGINNING 9. ANGSTPHANTASIE 10. ENDKNALL

TRACKLIST (LP) :

A1. THE ANXT CODE A2. HIMMELFAHRT A3. THE BEAUTY OF DISASTER B1. NUMBERS BECOME STORIES B2. ZIRKELTRILOGIE C1. WUNSCHKLANGREGISTER C2. ANGSTPHANTASIE C3. STILLE, BLITZ UND DONNER D1. THE END AND THE BEGINNING D2. ENDKNALL

 

 


BLURB The well-known slogan “One picture is worth a thousand words”, created by the advertising industry in the early nineteen-twenties and now a general cultural meme, could equally sensibly be applied to the field of music. Instrumental music, in particular music generated by electronic means, has, over the last several decades, become of central importance to popular culture: you only need to think about Brian Eno’s “Music For Airports”, which helped define the genre of “Ambient” music and create a permanent bond between music and everyday reality. Similarly, the compositions and music productions by J.Peter Schwalm are testament to the power of tones without words. Since 1998 and for six years, Schwalm worked continually with Eno, releasing numerous joint works, including the album “Drawn From Life” and the soundtrack to the film “Fear X” by Nicholas Winding Refn, all the while giving celebrated joint performances in Europe and Japan. Since 2006, Schwalm has been repeatedly invited by the Punktfestival in Kristiansand, where he performed as celebrated live-remixer. As one of the most respected exponents of this particular art form, he collaborated with several well known music ensembles, including the Ensemble Modern from Frankfurt The new album by J.Peter Schwalm, “ The Beauty Of Disaster ” continues this tradition, by exemplifying the suggestive powers of instrumental music, while drawing inspiration from contemporary images: “I had been deeply impressed by satellite images of the catastrophic oil spill in the Gulf of Mexico while composing new pieces for this album. These surprising photos, which so reminded me of paintings, seemed to embody the very same deep duality between the dark melancholia they depicted and a continuous, meshed sense of hope, an embedded ray of light, as did the compositions I was working on.” As such, these compositions of J.Peter Schwalm seek to balance the aesthetics of electronic with that of orchestral music. His swelling arrangements mark the difference between opulence (desired) and bombast (to be avoided at all costs), while his electronic sounds highlight his unique techniques, developed way beyond what is achievable by regular plug-ins. Many passages are completely devoid of beat, thus achieving a deep sense of contemplation in music.

 

 


Schwalm counts jazz innovator Miles Davis as early significant influence, as well as film work by Stanley Kubrick: “In a certain way” he laughs gently “I am still inspired by Bitches Brew. The piece “ Himmelfahrt ” arose following similar principles: there is a rhythm, a theme, but rather than studio improvisations, a large number of live cuts which I injected into the piece.” Other pieces, such as “ Zirkeltrilogie ” or “ Endknall ” were rather more influenced by György Ligeti : “Since seeing Lux Aeterna at the age of 15, I became deeply fascinated by his compositions made of tonal surfaces.” It was of course Ligeti’s music which significantly contributed to the metaphysical depth of Stanley Kubrick’s 2001 Space Odyssey.

FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/jpeter-schwalm/s-SgaAh **************************************

 

 


ARTIST

:

DAVID FIUCZYNSKI

TITLE

:

FLAM! BLAM! PAN-ASIAN MICROJAM!

FORMATS

:

SINGLE CD / SINGLE LP (180GMS) (YELLOW VINYL)

CAT NO:

:

RNR058 (CD) / RNR058LP (LP)

BARCODES

:

5060197760816 (CD) / 5060197760823 (LP)

RELEASE DATES :

 

 

MARCH 18TH 2016

 


MUSICIANS:

DAVID FIUCZYNSKI – GUITARS HELEN SHERRAH-DAVIES – VIOLIN YAZHI GUO – OBOE, CHINESE PERCUSSION UTAR ARTUN – MICROTONAL KEYBOARDS, RHODES JAKE SHERMAN – MICROTONAL KEYBOARDS, RHODES JUSTIN SCHORNSTEIN – EL.BASS ALEX ‘BISQUIT’ BAILEY – DRUMS, PERCUSSION RUDRESH MAHANTHAPPA – ALTO SAXOPHONE

FOR FANS OF:

DAVID FIUCZYNSKI, RUDRESH MAHANTHAPPA

GENRES:

MICROTONAL MUSIC, FUSION, JAZZ-ROCK

TRACKLIST (CD) :

1. LOON-Y TUNES 2. DANCE OF THE UIRAPURU 3. FLAM 4. Q&A SOLITAIRE 5. OISEAUX JDILLIQUE 6. GAGAKU CHORD CANDY 7. WALDSTIMMEN 8. UIRA HAPPY JAM 9. ORGAN WREN 10. LOON-LY SOLITAIRE

TRACKLIST (LP) :

A1. A2. A3. A4. A5. A6.

LOON-Y TUNES DANCE OF THE UIRAPURU FLAM Q&A SOLITAIRE OISEAUX JDILLIQUE GAGAKU CHORD CANDY PT1

B1. B2. B2. B4. B5.

GAGAKU CHORD CANDY PT2 WALDSTIMMEN UIRA HAPPY JAM ORGAN WREN LOON-LY SOLITAIRE

BLURB David Fiuczynski opened the Pandora’s Box on non-Western tuning on his 2012 RareNoise Records debut, Planet MicroJam. He pushes the envelope even further on his latest microtonal project, FLAM! BLAM! PAN-ASIAN MICROJAM!

 

 


Jointly dedicated to 20th century classical composer Olivier Messiaen and innovative hip-hop record producer J Dilla, this ambitious venture has the guitarist-composer pursuing his passion for the notes that fall between the cracks with his intrepid microtonal crew. The seven movements that comprise FLAM!, instigated by Fiuczynski receiving a 2011 Guggenheim Fellowship, show the connections between exotic bird calls and J Dilla’s famous ‘flam beats’ while also referencing the colors of Messiaen’s music, Gagaku, the ancient court music of Japan, and other Pan-Asian ingredients. The three extra tracks that comprise BLAM! feature special guest Rudresh Mahanthappa on alto saxophone. Fiuczynski is joined on both portions of his latest release by former Microjam Institute students Utar Artun on microtonal keyboard, Yazhi Guo on suona (Chinese oboe) and percussion, Helen Sherrah-Davies on violin, Jack Sherman on microtonal keyboard, Justin Schornstein on bass and Alex Bailey on drums. On the opening “Loon-y Tunes,” he employed the calls of the Common Loon and the Carolina Chickadee, then transposed the calls note-for-note onto fretless guitar, violin and microtonal keyboard. Pan-Asian aspects come into play in Fiuczynski’s Indianflavored slide guitar solo on this first track. The call of the Northern Nightingale is used on “Flam” while “Q&A Solitaire,” a stunning showcase for violinist Sherrah-Davies, employs the call of the Blackfaced Solitaire. “Oiseaux JDillique” incorporates JDilla’s flam beats, Pan-Asian motifs and the call of the Nightingale while “Gagaku Chord Candy,” which contains elements of free jazz, has Fuze emulating an ancient Gagaku orchestra on his fretless guitar while utilizing some of Messiaen’s chords. And the final piece of FLAM!, “Waldstimmen” (“Forest Voices”) reprises all the bird calls together for a fitting conclusion. The three additional tracks feature fire-breathing saxophonist Mahanthappa on “Uira Happy Jam,” which is entirely based on the song of that sonorous Brazilian bird, the spare “Organ Wren,” and the intense closer “Loon-ly Solitaire,” which has Fuze screaming with

 

 


distortion-laced delight on his fretless guitar. “The connecting tissue on all these tunes is flam,” he explains. “It’s in the melodies, in the J Dilla beats, in the bird calls. Even the sound of the word ‘chirp’ is a flam, which is basically the sound of two hits in succession close together. That’s what connects it all. Why I connected those three disparate things? That’s the artistic thing. I just thought it would be groovy.” FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/david-fiuczynskis-flam-blampan-asian-microjam/s-IVRMs

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ARTIST

:

NAKED TRUTH

TITLE

:

AVIAN THUG

FORMATS

:

SINGLE CD / SINGLE LP (180GMS) (RED VINYL)

CAT NO:

:

RNR057 (CD) / RNR057LP (LP)

BARCODES

:

5060197760793 (CD) / 5060197760809 (LP)

RELEASE DATES :

 

 

JANUARY 22 ND 2016

 


MUSICIANS:

GRAHAM HAYNES – EL. CORNET LORENZO FELICIATI – EL. BASS, GUITARS, PRODUCTION ROY POWELL – HAMMOND, ANALOG SYNTHS, PREPARED PIANO PAT MASTELOTTO – DRUMS

FOR FANS OF:

MILES DAVIS (ELECTRIC PERIOD), RETURN TO FOREVER, WEATHER REPORT, KING CRIMSON

GENRES:

JAZZ, ROCK, JAZZ-ROCK, PROGRESSIVE ROCK

TRACKLIST (CD) :

1. 2. 3. 4. 5. 6. 7.

TRACKLIST (LP) :

A1. A2. A3. A4.

RAPID FIRE LAZY ELEPHANT TRAP DOOR TENSE SHAMAN AVIAN THUG DAY TWO AT BEDLAM MOON AT NOON RAPID FIRE LAZY ELEPHANT TRAP DOOR TENSE SHAMAN

B1. AVIAN THUG B2. DAY TWO AT BEDLAM B3. MOON AT NOON

BLURB Recorded  in  the  South  Of  England  at  the  end  of  their  2013  European  Tour,   Avian  Thug  is  the  third  studio  album  by  jazz-­‐rock  ensemble  Naked  Truth,   after  Shizaru  in  2011  and  Ouroboros  in  2012.   Founded  by  Italian  bassist,  producer  composer  and  Lorenzo  Feliciati,  Naked   Truth  sees  Graham  Haynes  resuming  his  role  as  trumpet/cornet  player,  Roy   Powell  man  the  Hammond  organ,  analog  synths  and  prepared  piano  and   finally  Pat  Mastelotto  deliver  his  usual  energy  on  acoustic  and  electric   drums  and  percussion.    

 

 


Avian  Thug    develops  its  themes  across  seven  compositions,  stretching  from   intensely  furious  electric  jazz  cavalcades,  whose  ancestry  can  be  traced   back  both  to  Miles’    electric  work  but  also  more  recent  European   progressive  jazz  and  progressive  rock,  to  extended  soundscapes,  whose   colors  are  reminiscent  of  the  work  of  Jon  Hassell  or  Nils  Petter  Molvaer.   Over  the  last  four  years,  Naked  Truth’s  writing  style  has  become   progressively  more  incisive  and  focused,  aided  by  the  very  tight  co-­‐ production  work  of  Lorenzo  Feliciati  and  Bill  Laswell,  who  also  is   responsible  for  the  final  mix  of  Avian  Thug.    Graham  Haynes’  trumpet  tone   has  acquired  clarity  and  expressiveness,  Feliciati’s  bass  work  is  now  more   essential  as  are  Powell’s  presdigitations  on  analog  keyboards  and  prepared   piano,  supported  by  Mastelotto’s  polyrhythmic  ever  inventive  and  powerful   electronic  and  acoustic  drum  and  percussion  work.     Naked  Truth’s  music  was  always  recognizable  as  erupting  from  a  magmatic   cauldron  of  inventions;  with  Avian  Thug  it  reaches  a  new  maturity  where   instrumental  prowess  and  poetic  insight  are  tightly  knit  into  a  vigorous  but   balanced  weave  of  form  and  substance.    

FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/naked-truth-avian-thug/s-iarr9

**************************************

 

 


ARTIST

:

SLOBBER PUP

TITLE

:

POLE AXE

FORMATS

:

SINGLE CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR056 (CD) / RNR056LP (LP)

BARCODES

:

5060197760779 (CD) / 5060197760786 (LP)

RELEASE DATES :

 

 

JANUARY 22 ND 2016

 


MUSICIANS:

JAMIE SAFT – HAMMOND, ANALOGUE KEYBOARDS JOE MORRIS – ELECTRIC GUITAR MATS-OLOF GUSTAFSSON : SAXOPHONE BALAZS PANDI - DRUMS

FOR FANS OF:

LAST EXIT, SONNY SHARROCK, MATS GUSTAFSSON, MERZBOW

GENRES:

JAZZ, NOISE, PSYCHEDELIA

TRACKLIST (CD) :

1. POLE OF COMBUSTIBLE MEMORY 2. BRING ME MY DESIRE AND ARROWS TO SHOOT 3. INCENDIARY AXE

TRACKLIST (LP) :

A1. POLE OF COMBUSTIBLE MEMORY (PT.1) B1. POLE OF COMBUSTIBLE MEMORY (PT.2) C1. BRING ME MY DESIRE AND ARROWS TO SHOOT D1. INCENDIARY AXE

BLURB: Two years after debuting with critically acclaimed debut album “Black Aces”, Slobber Pup are back with their sophomore release, titled “Pole Axe”. The original core lineup of renowned American keyboardist and pianist Jamie Saft (JS Trio, New Zion Trio, John Zorn’s Masada, Merzbow, The New Standard, The Spanish Donkey), American guitar and double bass free music legend Joe Morris and Hungarian hardcore drummer Balazs Pandi (Wadada Leo Smith, Jamie Saft, Merzbow) is here augmented by the presence of Swedish sax titan Mats-Olof Gustafsson.

 

 


Jamie Saft’s, Joe Morris’ and Balazs Pandi’s artistic relationship has been steadily developing on RareNoiseRecords since late 2012 : Saft and Pandi both played on Metallic Taste Of Blood; all three played on Slobber Pup’s first release, and again with Wadada Leo Smith on Red Hill; Saft and Morris both played on Plymouth (with Mary Halvorson, Chris Lightcap and Gerald Cleaver) and The Spanish Donkey (with Mike Pride) Recorded December 2013 in Jamie Saft’s Potterville International Sound studio in the beautiful Catskills mountains, Pole Axe leverages the aforementioned chemistry and the tumultuous, monolithic yet psychedelic vigor of Mats Gustafsson’s reeds, yielding three boundless free-form excursions . This journey, which starts with the torrential “Pole Of Combustible Memory”, continues with the equally extended “Bring Me My Desire And Arrows To Shoot” (a title inspired by William Blake) and concludes with Incendiary Axe, is a chiaroscuro stream of consciousness that might have been burned on 35mm analog reel. Visions relentlessly follow visions, temperature and texture changes flow into another without hardly rest. The endless depth of Saft’s and Morris’ interplay, multiple analog synths and organs engaged in a at times vertiginous dance with the guitar, is here deeply complemented by Gustafsson’s saxophone multiform saxophone, sustained by Pandi’s at times restrained, at times virulent drumming. Here again one can sense the manifestation of the notion of glacial time theorized by Morris – a state of deep listening between musicians, when time is felt and understood by all, but does not need to be overtly stated. Everyone is experiencing the pulse, yet everyone’s focus is on the larger arc of the music.

 

 


REVIEWS/ QUOTES: “50 minutes of spiritual jazz entropy and revelation” (MOJO ****) “Corrosive flecks of acid-lined spittle pour forth from the jowls of Slobber Pup’s sophomore summit, canonizing mires of unholy cacophony in the flames of an oozy baptism” (JAZZWISE ***) “Stunning second album” (ROCKAROLLA) “Calls back to dynamite blasts from the past by Machine Gun and Massacre” (NYC JAZZ RECORD) “A post-apocalyptic tenor + jazz organ trio, shot full of morphine and uranium” (All About Jazz ****)

FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/slobber-pup-pole-axe/sBZWFW **************************************

 

 


ARTIST

:

ANIMATION

TITLE

:

MACHINE LANGUAGE

FORMATS

:

SINGLE CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR055 (CD) / RNR055LP (LP)

BARCODES

:

5060197760755 (CD) / 5060197760762 (LP)

RELEASE DATES :

SEPTEMBER 25 (CD) / OCTOBER 30 (LP)

DIFFERENT DATES!

 

 


MUSICIANS:

PETE CLAGETT : ELECTRIC TRUMPET BOB BELDEN – SOPRANO SAX, ELECTRIC ALTO FLUTE ROBERTO VERASTEGUI : SYNTHESIZERS BILL LASWELL : EL. BASS MATT YOUNG : DRUMS KURT ELLING : NARRATOR

FOR FANS OF:

MILES DAVIS (ELECTRIC PERIOD), RETURN TO FOREVER, WEATHER REPORT

GENRES:

ELECTRIC JAZZ, AMBIENT, DRUM’N BASS

TRACKLIST (CD) :

1. A CHILD’S DREAM 2. MACHINE LANGUAGE 3. ETERNALITY 4. CONSISTENT IMPERFECTION 5. SOUL OF A MACHINE 6. GENESIS CODE 7. EVOLVED VIRTUAL ENTITY 8. DISAPPEARANNIHILATION 9. THE EVOLUTION OF MACHINE CULTURE 10. DARK MATTER 11. TECHNOMELANCOLIA 12. A MACHINE’S DREAM

TRACKLIST (LP) : A1. A CHILD’S DREAM A2. MACHINE LANGUAGE A3. ETERNALITY B1. CONSISTENT IMPERFECTION B2. SOUL OF A MACHINE B3. GENESIS CODE C1. EVOLVED VIRTUAL ENTITY C2. DISAPPEARANNIHILATION C3. THE EVOLUTION OF MACHINE CULTURE D1. DARK MATTER D2. TECHNOMELANCOLIA D3. A MACHINE’S DREAM

 

 


BLURB (EXTRACT FROM BILL MILKOWSKI’S LINER NOTES) Tragically, this was Bob Belden’s last recording. The prolific, Grammy-winning composer-arrangerproducer and bandleader died of a massive heart attack on May 20 at age 58, just weeks before the final mastering of this chilling opus. A beloved figure and well-informed wag on the New York jazz scene, Belden was still basking in the glow of his triumphant February performance in Tehran with his group Animation (it was the first time an American musician had played in Iran since 1979) when fate struck and he slipped into a coma in his Upper West Side apartment, passing away in the hospital three days later. Belden’s final opus was finished but not yet mastered when he checked out. But the concept had been long set in place for this recording with his band Animation, featuring guest bassist Bill Laswell. After attending a day-long session at Laswell’s Orange Music Sound Studios in West Orange, New Jersey, Belden informed me (with typical twinkle in his eye) that the project was going to be called Machine Language. When asked for an explanation of the album title, he replied (with allknowing sly grin), “What would you do if your computer wanted to kill you?” Listening to this darkly dystopian concept album made me wonder, “What would Miles Davis have done had he lived long enough to create the soundtrack to Matrix”? To help Belden realize his futuristic 2001: A Space Odyssey-inspired vision for Machine Language, he enlisted vocalist Kurt Elling as narrator for this cyberpunk opera. “My own memory of any conversations regarding the piece is that there was minimal discussion before making the voice over,” said Elling, who had previously appeared on Belden’s 1996 project, Shades of Blue. “The only real direction I received was to ‘sound like a sad, well-spoken computer.’ I did the actual recording by myself at a studio in St Louis, with Belden occasionally commenting via ISDN. I did a cold read once down, without music, and expected Bob to make whatever edits and adjustments he wanted. I was in and out of the studio in an hour.” Belden’s text for Elling reads like an excerpt from Philip K. Dick’s 1968 novel “Do Androids Dream of Electric Sheep?,” which later became the literary source for the 1982 Ridley Scott movie Blade Runner. And the darkly foreboding music, performed by Pete Claggett on muted trumpet, Roberto Verastegui on electric keyboard, Matt Young on drums, Belden on soprano sax and Laswell

 

 


on electric bass guitar, takes part of its inspiration from Miles Davis’ 32-minute ambient requiem for the recently-deceased Duke Ellington, “He Loved Him Madly” (from 1974’s Get Up With It).

REVIEWS (CONFIRMED IN ADVANCE) RECORD COLLECTOR : “TERRIFIC RECORD” (*****) MOJO : (****) MORE AS THEY ARE CONFIRMED FOR INFORMATION :

giacomo@rarenoiserecords.com

************************************** SOUNDCLOUD LINK ( PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/animation-machinelanguage/s-XRkca **************************************

 

 


ARTIST

:

METALLIC TASTE OF BLOOD

TITLE

:

DOCTORING THE DEAD

FORMATS

:

SINGLE CD / SINGLE LP (180GMS)

CAT NO:

:

RNR053 (CD) / RNR053LP (LP)

BARCODES

:

5060197760717 (CD) / 5060197760724 (LP)

RELEASE DATES :

 

 

JUNE 8 TH 2015

 


MUSICIANS:

 

ERALDO BERNOCCHI – GUITARS, ELECTRONICS COLIN EDWIN – BASS GUITAR, EBOW TED PARSONS : DRUMS WITH:

ROY POWELL : ADDITIONAL KEYBOARDS, ELECTRONICS

FOR FANS OF:

TOOL,

GENRES:

MATH ROCK, METAL, DUB, PROGRESSIVE ROCK, AVANT-ROCK, INDUSTRIAL

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8.

IPSISSIMUS PASHUPATI SYNTHETIC TONGUE DOCTORING THE DEAD BLIND VOYEUR DAY OF BONES MURDER BURGER THE DEATH OF PAN

TRACKLIST (LP) : A1. A2. A3. A4. B1. B2. B3. B4.

 

IPSISSIMUS PASHUPATI SYNTHETIC TONGUE DOCTORING THE DEAD BLIND VOYEUR DAY OF BONES MURDER BURGER THE DEATH OF PAN

 


BLURB: Metallic Taste Of Blood, the instrumental math-rock/outer rock unit lead by Italian guitarist and soundsculptor Eraldo Bernocchi and Australian bassist Colin Edwin is back with a vengeance, joined now by legendary drummer Ted Parsons, whose earlier ventures included Swans, Prong, Buckethead, Godflesh and Killing Joke, and British keyboard player extraordinaire Roy Powell, whose recent work includes InterStatic and Naked Truth. The vigour and inventiveness which characterised Metallic Taste Of Blood’s first release still sits center stage, a natural outflow of the band founder members’ very wide palette of musical experiences/collaborations and individual talents, spanning an incredibly rich vocabulary which extends from ambient and electronica, to progressive rock and avant-jazz, to noise and industrial electronics, all firmly anchored by the deep and precise dub beats laid out by Ted Parsons, sparkled, on select tracks, by the surprising keyboard inventions of Powell. This variety of influences and musical idioms manifests itself in a very specific kind of sound, one that is now characteristic of the band, one which is predicated and thrives on the very notion and practice of the contraposition of opposites. The music of Metallic Taste Of Blood is both incredibly brutal and delicate, distorted, but incredibly clear, boiling hot and yet suddenly very cool, sweet yet suddenly brackish, that very peculiar unity in contradiction to which the band’s own name refers to. Doctoring The Dead, recorded in Prague at Faust Studios, mixed in Italy and mastered in the US by Mike Fossenkemper, though moves ahead towards new territory by bringing in a new, focused single-mindedness; witness to this are the album’s eight tracks, starting with Ipsissimus, where an deep dub rhythm section supports the entangled duel of baritone electric guitar and synth, to Pashupati, whose guitar lines dance between extreme cleanliness and growling distortion, to the cosmic Ambient Bass inflections of Synthetic Tongue, to the calming riff and distorted electronica

 

 


of the title track, to Blind Voyeur’s beyond-post-rock grandeur, the dark ambient glitch of Day of Bones, and further down to Murder Burger (!) and beyond, towards the closing Death Of Pan. Out of contrast perfect balance is reached, when distorted guitars sound clean and soothing, while cascades of piano notes suddenly morph into threatening shards – listening to this will lift you into a state not unlike that of cognitive dissonance, one of deep, uncomfortable enjoyment.

FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

MERZBOW, MATS GUSTAFSSON, BALAZS PANDI, THURSTON MOORE

TITLE

:

CUTS OF GUILT, CUTS DEEPER

FORMATS

:

DOUBLE CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR052 (CD) / RNR052LP (LP)

BARCODES

:

5060197760632 (CD) / 5060197760649 (LP)

RELEASE DATES :

MARCH 25 (CD) / APRIL 23 (LP)

DIFFERENT DATES!

 

 


MUSICIANS:

MERZBOW (MASAMI AKITA) : NOISE ELECTRONICS MATS GUSTAFSSON : REEDS AND LIVE ELECTRONICS THURSTON MOORE : ELECTRIC GUITAR BALAZS PANDI : DRUMS

FOR FANS OF:

MERZBOW, NOISE POWER ELECTRONICS

GENRES:

NOISE, EXTREME NOISE, DRONES, POWER ELECTRONICS

TRACKLIST (CD) : CD1: 1. replaced by shame – only two left 2. divided by steel. falling gracefully CD2: 1. too late, too sharp – it is over 2. all his teeth in hand, asking her once more

TRACKLIST (LP) : A1. replaced by shame – only two left B1. divided by steel. falling gracefully C1. too late, too sharp – it is over D1. all his teeth in hand, asking her once more

BLURB: How did renowned Japanese noisemaker Merzbow (aka Masami Akita), Swedish saxophonist Mats Gustafsson and Hungarian drummer Balazs Pandi follow up their majorly intense statement made on their tumultuous debut album, Cuts, which was released in 2013. By adding another ingredient to the

 

 


volatile mix, in the person of skronking guitar hero and Sonic Youth founder Thurston Moore they’ve taken things up a notch or two on the Richter scale on their RareNoise Records follow-up recording. With Gustaffson’s roaring baritone sax blending with Moore’s shriekback guitar, Pandi’s intensely throbbing beats and Merzbow’s subversive white noise barrages, it all adds up to a sonic pummeling of epic proportions on the remarkable two CD-set, Cuts of Guilt, Cuts Deeper- the album will be released on April 13th on CD, vinyl and Hi-Res digital download. In a post-Cage-ian world where there are no wrong notes – in fact, no notes at all, just silence and the absence of silence – the enigmatic Merzbow is a Magellan of sound, fearlessly traveling uncharted waters on each new project he undertakes (he has made over 350 recordings since 1979). Born on December 19, 1956 in Tokyo, he was originally attracted to rock guitarists like Jimi Hendrix, Lou Reed and Robert Fripp, and later was influenced by free jazz icons Albert Ayler, Cecil Taylor and Frank Wright as well as electronic music pioneers like Karlheinz Stockhausen and Iannis Xenakis. “Then I found the forum for mixing these influences into pure electronic noise,” he said in a 1999 interview with EsoTerra Magazine: The Journal of Extreme Culture. “I was trying to create an extreme form of music.” Merzbow has found true kindred spirits in Pandi, who has collaborated with him since 2009, and Gustafsson, a stalwart on the Scandinavian free jazz scene. Pandi’s explosive drumming has propelled such other experimental bands as Blood of Heroes, Redhill featuring Wadada Leo Smith ( on RareNoiseRecords), Zu and two other groups also from the RareNoise roster – Obake , guitarist and vocalist Lorenzo Fornasari) and Metallic Taste of Blood (featuring guitarist Eraldo Bernocchi), Porcupine Tree bassist Colin Edwin and keyboardist Jamie Saft). Gustafsson is a member of the Fire! Orchestra, the Barry Guy New Orchestra and The Thing with drummer Paal Nilssen-Love and bassist Ingebrigt Håker Flaten. He has also worked with many free jazz musicians including German drummer Paul Lovens, Dutch pianist Misha Mengelberg, Chicago-based saxophonist Ken Vandermark, New York-based trumpeter/saxophonist Joe McPhee, New York-based drummer Hamid Drake and the Italian experimental band Zu. He claims Little Richard, The Cramps and Entombed as early inspirations in his musical development. “I started off playing electric piano in a local punk band in my home town Umeå when I was 13,” he says. “I was lucky to grow up in northern Sweden in a small university town that actually had a jazz club and a very active music scene. I heard Steve Lacy, Sonny Rollins, Derek Bailey and Per Henrik Wallin really early as my main jazz kicks. But as Evan Parker used to say, ‘My roots are in my record player.’ Thurston Moore, a ferocious axe-mangler from the Sonny Sharrock “shards of splintered glass” school, formed the alternative rock group Sonic Youth with bassist-vocalist Kim Gordon in 1981. They were later married in 1984. Alongside fellow guitarist Lee Renaldo, Moore made extensive use of unusual tunings and feedback, straddling the inside-outside divide on 16 studio albums, including influential recordings like 1990’s Goo, 1992’s Dirty, 1994’s Experimental Jet Set, Trash and No Star and 2004’s Sonic Nurse. Since disbanding Sonic Youth in 2011, Moore has recorded solo projects, including 2011’s Demolished Thoughts and 2014’s The Best Day. In 2014, he performed a searing duet with fellow experimental guitarist Nels Cline as part of an Ornette Coleman 84th birthday celebration in Brooklyn’s Prospect Park. “The original trio was initiated by Balazs,” says Gustafsson. “He and Masami have played some together before. I played together with Masami and Sonic Youth and also made various recordings with him and Jim O’Rourke in Japan. I had never played with Balazs before, so I was delighted to work with him on the first Cuts project.” The three free spirits forged an indelible chemistry on a tour

 

 


together prior to recording Cuts. “This group really hit something amazing during that tour and we took that energy into the studio.” For Cuts of Guilt, Cuts Deeper, the four kindred spirits went into the studio and came up with four extended tracks. CD 1 is comprised of the 20-minute “replaced by shame, only two left” and the 18minute “divided by steel, falling gracefully.” CD 2 contains the dynamic 21-minute jam “too late, too sharp -- it is over” and the extreme anthem “all his teeth in hand, asking her once more.” Drummer Pandi calls it ‘mystery in sound.’ As saxophonist Gustafsson said of their purely improvised session, “We had no game plan. That usually does not work so well. It all depends on the day, the energy and of course the room. And oh boy, that room was freakin’ spectacular! It actually had a skateboard ramp! It was a truly spectacular recording. It went super-fast -- just a wall of noise-poetry with layers and perspectives changing all the time. And to have Thurston Moore in the mix just added colours, layers, energies and sound. It was a very inspired sharing with the others.” Pandi provides a bit of history on the evolution of this Cuts quartet. “There is a legendary Roskilde live recording of Sonic Youth with Mats and Masami called ‘Andre Sider Af Sonic Youth’ and as a combination of that record and my longstanding duo with Masami, the idea came to try and play a quartet. Those were the days of the last couple Sonic Youth shows in South America, around 2012. Following that, Masami, Mats and I continued to work as a trio. Meanwhile, in 2013 I got invited to join Porn for a string of gigs. Porn masterminded by Tim Moss and Bill Gould from Faith No More and for the London shows Thurston joined us on stage - it was great fun to play together. When we hung out backstage, we were talking about trying to hook up a quartet session sometime with Mats and Masami again. We already had a gig planned with the trio in London, where Thurston currently lives, so we figured the only day he is spending around that time in London is the one we had for recording the follow album up to Cuts. So he was on board immediately.” As for how this new Cuts project with Moore may differ from their first Cuts outing, Pandi remains philosophical. “From my side, I can’t really talk about differences. I don’t approach anything differently. There are no tactics, concepts, nothing. Only deep listening and playing accordingly. I learned that from Masami early on. The night of our very first show, I approached him backstage, introducing myself. As it was the first time we met, I thought we would sit down and discuss any concept he may have wanted to talk through. But when I asked him about it, he only said one word -‘improvisation.’ That’s how it always is with Masami. And that’s how we approached this new recording in the studio.

FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

THE SPANISH DONKEY

TITLE

:

RAOUL

FORMATS

:

SINGLE CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR054 (CD) / RNR054LP (LP)

BARCODES

:

5060197760731 (CD) / 5060197760748 (LP)

RELEASE DATES :

MARCH 25 (CD) / APRIL 23 (LP)

DIFFERENT DATES!

 

 


MUSICIANS:

JOE MORRIS – ELECTRIC GUITARS JAMIE SAFT – HAMMOND AND KORG ORGANS, MINIMOOG SYNTHESIZER, ECHOPLEX PIANO MIKE PRIDE : DRUMS

FOR FANS OF:

SLOBBER PUP, MAHAVISHNU ORCHESTRA, JOHN COLTRANE (ASCENSION)

GENRES:

MICROTONAL BLUES-METAL

TRACKLIST (CD) : 1. RAOUL 2. BEHAVIORAL SINK 3. DRAGON FLY JONES

TRACKLIST (LP) : A1. RAOUL (PART 1) B1. RAOUL (PART 2) C1. BEHAVIORAL SINK D1. DRAGON FLY JONES

BLURB: The sound of Joe Morris’ electric guitar, with distortion pedal set on stun and wah-wah pedal fully engaged, colliding with Jamie Saft’s droning, microtonal organ and Mike Pride’s thunderous free drumming approach to the kit creates a mind-numbing maelstrom on The Spanish Donkey's RAOUL, the improvising trio’s debut on RareNoise records. A follow-up to XYX, their 2011 album, which was released on Northern Spy Records. The album consists of three throbbing tracks -- the brutal 32minute title track ‘Raoul, the 22-minute “Behavioral Sink” and 16-minute Echoplex piano feature “Dragon Fly Jones” -- that showcase The Spanish Donkey's remarkable group-think as well as the individual player’s uncanny intuition on their respective instruments. More intensely cathartic, startlingly original and compelling than anything you’ve ever heard -- imagine a mash-up of John Coltrane’s Interstellar Space and Lou Reed’s Metal Machine Music -- RAOUL stands as a hellacious manifesto by one of the most formidable improvising trios around today.

 

 


“We’re not trying to sound like anything that anyone expects,” says Morris. “We’re trying to come up with something that surprises us and fulfills the musical expectation that we have for ourselves. So in that whole realm of big loud screaming guitar, what we do sounds unique.” “To me, The Spanish Donkey is deeply rooted in the blues,” says Saft. “In terms of my concept for going into the studio for this record, it really was this idea of creating a monolithic, microtonal blues vibe and having Joe react to that. Joe is one of the few musicians that can really work within a deep microtonal environment. He is on such a high level with his intuitive approach to microtones and improvising within that space, creating in that ‘glacial time feel,’ as he puts it. And so this record essentially is us applying that microtonal blues thing to our free improvising path, and trusting that path completely.” Drummer Pride, who has collaborated with saxophonist-composer Anthony Braxton, Millions of Dead Cops and the Boredoms, is the perfect complement to Morris’ caustic intensity and Saft’s microtonal explorations on RAOUL. “For me, Mike also has a freedom and a level of trust in the path that is unique,” says Saft. “He is able to shape these larger form compositions while still staying deeply involved in the micro levels of rhythmic division and harmonic color. In the smaller trio format with these particular improvisers it’s much easier to create something that’s loud and brutal while keeping the intensity going throughout an entire 32-minute tune. There are not many musicians in this world that can keep that intensity of focus for that long. Mike is certainly one of them and Joe is a master at that. It’s something that you only find in a really rarefied group of musicians. So I feel incredibly fortunate to play with musicians like that.” Morris describes his modus operandi on RAOUL: “In The Spanish Donkey, I blend a lot of different effects together and actually improvise with effects. I don’t usually set effects like a rock guitar player; I improvise with a whole sonic palette. So I am constantly switching effects on and off, whether it’s delay, fuzz, ring modulator or whatever. There are a lot of different things going on but it’s a very narrow range that we’re working in, in terms of time and harmony. It’s trying to do a lot with very little. It’s about making a very intense thing happen with a slow time feel and a very tight tonal range.” P.T.O As a guitarist, Morris, who turns 60 this year, is a legend within free jazz or new music circles, having released over 40 records as a leader since 1983 and appearing as a sideman on another 50 or so albums. He has previous collaborated with keyboardist Saft on the RareNoise Records Plymouth, Red Hill and Slobber Pup’s Black Aces. Morris describes his approach to playing the guitar over the past three decades of recordings. “I try to be as legitimate and sincere and as thorough and outrageous as I can with every one of them. And sometimes being outrageous means that you don’t do things that are flashy or what anybody else expects. I’d say that’s all I’ve ever tried to do on guitar. I never wanted to be a fusion guitar player or a jazz guitar player or country guitar player or heavy metal guitar player. Every time I pick up the thing, I’m trying to be myself, no matter what the situation is. And that means I have to follow very closely to what my knowledge is of everything and to try to always be completely sincere in the way that I deal with everything.” Says Saft, “Joe is able to deal with the fluidity of time, pitch, harmony, tonality, tone color in a way that very few guitarists I’ve ever heard can do. It’s something really special. And so, for me, to put that in a blues context with this sort of strong tone center that we focus on for each tune and build around, and then apply all those same ideas of the micro levels of pitch, tone, rhythm to putting together our

 

 


tracks, this is something unique and seldom heard. That’s really the approach to the composition, in my mind. And there’s nothing that really needs to be spoken between us, because when you play with people like Joe Morris, you’re playing with a master. I don’t need to say anything to him. He can react immediately to all these little shadings in a way that few other musicians can.” From track to track, Morris, Saft and Pride defy all expectations with their balance between complete abandon and refined control on RAOUL. “I’m trying to make what I think is unique music, and that’s not easy,” says Morris. “You have to work really hard and sometimes you have to make decisions that draw people in in a new way rather than play to what they expect. Some people might listen to this record and say, ‘You’re just playing to the energy and it’s out of control.’ But it’s a really delicate process, almost like sculpting marble, to get that kind of intensity there. And I think that’s one of the things that Spanish Donkey does really well is that we can hold to this very, very tight precision and keep it there. And to go there and keep it there requires a tremendous precision and, above all, listening.” “The world doesn’t need more free-wanking records,” adds Saft. “And I think this record is actually the furthest thing from that in that it’s a very carefully crafted monolith, large form improvisation based in the microtonal blues world. You have to be open to finding something new, and you hear that search in this record. Joe is redefining what the blues guitar could even conceive of being on this record. It’s not just something that you see and you grab and you put on the tape, it’s something that you’re constantly looking for. To borrow Joe Morris' term, it’s the 'perpetual frontier'.”

FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

FREE NELSON MANDOOMJAZZ

TITLE

:

AWAKENING OF A CAPITAL

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR051 (CD) / RNR051LP (LP)

BARCODES

:

5060197760694 (CD) / 5060197760700 (LP)

RELEASE DATES :

FEBRUARY 23 (CD) / MARCH 9 (LP)

DIFFERENT DATES!

 

 


MUSICIANS:

REBECCA SNEDDON - SAXOPHONE COLIN STEWART : BASS PAUL ARCHIBALD : DRUMS

FOR FANS OF:

SUNN((((0)))), PAINKILLER, KILIMANJARO DARKJAZZ ENSEMBLE, MOUNT FUJI DOOMJAZZ CORPORATION

GENRES:

DOOM JAZZ

TRACKLIST (CD) : 1. 2. 3. 4 5. 6. 7. 8.

SUNN RA))) THE STARS UNSEEN THE LAND OF HEAT AND LIGHT POKING THE BEAR THE PILLARS OF DAGON ERICH ZANN SLAY THE LIGHT BENEATH THE SEA

TRACKLIST (LP) : A1. A2. A3. A4 B1. B2. B3. B4.

 

SUNN RA))) THE STARS UNSEEN THE LAND OF HEAT AND LIGHT POKING THE BEAR THE PILLARS OF DAGON ERICH ZANN SLAY THE LIGHT BENEATH THE SEA

 


BLURB: Following on the strength of their provocative double EP, Shape of Doomjazz to Come/Saxophone Giganticus , the Scottish free jazzmeets-doom/stoner rock trio Nelson Mandoomjazz performs more crunching anthems on Awakening of a Capital . Fueled by the imposing fuzz-bass bass lines of Colin Stewart and the slamming backbeats of drummer Paul Archibald and featuring the scorching alto sax work of Rebecca Sneddon, this renegade power trio named jointly for the late South African freedom fighter Nelson Mandela and the heavy-duty genre of improvised music known as ‘doomjazz’ strikes another blow for the freedom principle on their second RareNoise outing. From the mournful dirge “The Stars Unseen” to the dark, temposhifting “The Land of Heat and Greed,” marked by Sneddon’s squealing multiphonics over the top of a tribal groove, to the teethchattering intensity of “Poking the Bear,” the formidable triumvirate from Edinburgh summons up thoughts of Slayer jamming with avant garde icon Albert Ayler or alto saxophonist John Zorn with bassist Bill Laswell and former Slayer drummer Dave Lombardo. Elsewhere on Awakening of a Capitol, Sneddon turns in some freewheeling blowing in the altissimo range on “Slay the Light,” skronks with impunity on the probing “The Pillars of Dagon,” which features a string quartet, and wails on the maelstrom of “Erich Zann,” a haunting piece named after an H.P. Lovecraft short story from 1922. In all, this second manifesto by Nelson Mandoomjazz is heavier than heavy, darker than dark, yet always retaining a deep sense of humour.

 

 


REVIEWS/QUOTES: MARLBANK A big leap forward on their initial shot in the dark The Shape of Doomjazz to Come/Saxophone Giganticus Free Nelson Mandoomjazz return with Awakening of a Capital to be released by RareNoise in February. Taking a less mocking approach in their choice of album title this time around – the record owes its name to an early 20th century futurist experimental recording – droney doom metal fused with freejazz remains the name of the game, succinctly summed up in opener ‘Sunn Ra)))’: namechecking Sun Ra cunningly folded into Doom heroes Sunn O))). Operating best when the fuzzy bass of Colin Stewart wreaks havoc, drummer Paul Archibald keeps it relatively simple beating a solid tattoo of set patterns leaving saxophonist Rebecca Sneddon no option but to smash her way out of musical jail with her fiendishly feral squeals and bursts of energy. The tunes have relatively straightforward uncomplicated structures to them often built simply around meaty riffs generated by bass and drums served up scalding hot. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

SPIN MARVEL

TITLE

:

INFOLDING

FORMATS

:

CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR049 (CD) / RNR049LP (LP)

BARCODES

:

5060197760656 (CD) / 5060197760663 (LP)

RELEASE DATES :

FEBRUARY 23 (CD) / MARCH 9 (LP)

DIFFERENT DATES!

 

 


MUSICIANS:

MARTIN FRANCE : DRUMS TIM HARRIES : BASS TERJE EVENSEN : LIVE ELECTRONICS NILS PETTER MOLVAER : TRUMPET EMRE RAMAZANOGLU : ADDITIONAL DRUMS

FOR FANS OF:

NILS PETTER MOLVAER, NORDIC JAZZ, ELEPHANT 9, DATAROCK, PANZERZAPPA, JON HASSELL AND BRIAN ENO

GENRES:

NORDIC JAZZ, ELECTRIC JAZZ, PROG JAZZ, JAZZ, JAZZ NOISE

TRACKLIST (CD) : 1. 2. 3. 4 5. 6.

CANONICAL TUESDAY’S BLUES TWO HILL TOWN LEAP SECOND SAME HAND SWISS DOUBLE PUG MINUS TWO

TRACKLIST (LP) : A1. CANONICAL A2. TUESDAY’S BLUES B1. TWO HILL TOWN B2. LEAP SECOND C1. SAME HAND SWISS DOUBLE PUG D1. MINUS TWO

 

 


BLURB: “Infolding” is the Spin Marvel’s third release and first on RareNoiseRecords; it is the brainchild of drummer Martin France, british bassist Tim Harries (once part of Bill Bruford’s Earthworks), and norwegian sound sculptor/percussionist Terje Evensen, here joined by Norwegian trumpet master Nils Petter Molvaer and additional drummer / producer Emre Ramazanoglu (on “Minus Two”). Together they create spacious and dramatic soundscapes of profound intensity on the startlingly original Infolding , blending aspects of free jazz, ambient music and electronica in provocative ways. From the serene to the unsettling, this latest Spin Marvel project morphs into a myriad of moods and melodies over the course of six dynamic tracks. “Canonical” opens with an airy ambient touch before exploding into free jazz tumult paced by Harries’ throbbing fuzz bass and France’s powerful traversing of the kit, with Molvaer’s highly processed cathartic wail layered over the top. “Tuesday’s Blues” opens with spacious trumpet before gradually evolving into an in-the-moment adventure anchored by Harries’ hellacious fuzz bass and France’s interactive, Elvin Jones-inspired swing beat. “Two Hill Town” has Molvaer creating half-time trumpet melodies that float dreamily over France’s simmering pulse before the proceedings heat up to a turbulent boil. “Leap Second” makes dramatic use of silence and echo, with Molvaer’s haunting trumpet tones resounding over France’s subtle brushwork before the piece builds to an intense crescendo. The 16minute “Same Hand Swiss Double Pug” opens as a kind of ambient bolero before France bursts into a Buddy Rich styled flurry on the snare drum midway thru, triggering a change in mood that culminates in a freewheeling collective improv.

 

 


And the collection closes on a haunting and kinetic note with the echo-laden “Minus Two,” Emre’s lone drumming showcase. REVIEWS/QUOTES: Marlbank (Stephen Graham) (****) Spin Marvel paint mountain-distant pictures, rangey aural landscapes emerging from as far as the ear can even hope to detect. It’s worth stepping back for a minute to consider how far they have developed getting on for a decade on from their eponymous 2006 debut. In those days it was Martin France, the pater familias of the band, electronicist Terje Evensen, bass guitarist Tim Harries and the now (at least on this latest record) departed guitarist John Parricelli. There was no sign of Nils Petter Molvær back then. More droney, perhaps, or textural in those days, the sound got a little more industrial and certainly ambient four years later with NPM joining and providing a turning point on Spin Marvel 2 , aka ‘The Reluctantly Politicised Mr James.’

Infolding dispenses with the services of Parricelli and adds in something of a cameo at the end from drummer Emre Ramazanoglu. Seeing the band live towards the end of 2013 with Tord Knudsen’s visuals an additional element for a Kings Place show with their ribbon-like flutters falling down a busy screen, saturated colours part of a tech-heavy prog iconography and that palpable sense of alienation never far away, it was pretty clear that their sound, similar to what’s turned out here, had moved away from the skittering house music feel of earlier material such as Politicised track ‘Black Dogs Company.’ Infolding, the dictionary meaning rendering this exotic coinage a “folding inwardly or toward one another” bears this shift out in the sense that this latest album is more intimate but at the same time

 

 


full of intensity.

Within this there are some gloriously stark balladic moments, for instance on ‘Tuesday’s Blues’ that are worth the price of purchase alone, the band adept at creating atmospheres that stick in the mind for ages. The tunes are all band written whether the process of composition was achieved through free improvisation I’m not sure but very possibly in parts as there seems to be a lot of spontaneity within the flow of the album, a big part of its appeal. Terje Evensen’s programming and effects and the febrile drumming of France lie at the liquid heart of it all while NPM’s dark interjections and fragile tendernesses (on ‘Leap Second’ for instance) provide intimate moments to contrast with the enveloping firepower elsewhere. The bafflingly titled ‘Same Hand Swiss Double Pug’ has an incredible sonic effect at the beginning, resembling some sort of bizarre underwater snore. Ultimately on ‘Minus Two’ (the track Ramazanoglu joins on) the sense of alienation that is never far away from anything Spin Marvel touches is still a potent force – and thank goodness for that. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

JÜ and KJETIL MØSTER

TITLE

:

JÜ MEETS MØSTER

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR047 (CD) / RNR047LP (LP)

BARCODES

:

5060197760618 (CD) / 5060197760625 (LP)

RELEASE DATES :

NOVEMBER 24 (CD) / DECEMBER 15 (LP)

DIFFERENT DATES!

 

 


MUSICIANS:

ADAM MESZAROS : GUITAR ERNO HOCK : BASS ANDRAS HALMOS : DRUMS KJETIL MØSTER : TENOR AND BARITONE SAX

FOR FANS OF:

MAHAVISHNU ORCHESTRA, WEATHER REPORT, ELEPHANT 9, DATAROCK, PANZERZAPPA, LAST EXIT, ARCANA (BILL LASWELL/PHAROAH SANDERS/ TONY WILLIAMS), JOHN COLTRANE

GENRES:

JAZZ ROCK, JAZZ PUNK, PROG JAZZ, JAZZ

TRACKLIST (CD) : 1. 2. 3. 4 5. 6.

DEAR JOHANN BHAJAN MORZE (FOR ÁGOSTON BÉLA) HASSASSIN KJÜ ONE

TRACKLIST (LP) : A1. DEAR JOHANN A2. BHAJAN B1. MORZE (FOR ÁGOSTON BÉLA) B2. HASSASSIN B3. KJÜ BLURB: Worlds collide when the raucous Budapest-based underground power trio JÜ (consisting of fire-breathing guitarist Adàm Mèszaros, rock solid fuzz-bassist Ernö Hock and the remarkably flexible drummer Andras Halmos) joins Oslo-based saxophonist Kjetil Møster for this subversive meeting of the minds on RareNoise Records. A

 

 


powerful manifesto for ecstatic, exploratory, envelope-pushing, inthe-moment music, mixed by Bill Laswell and mastered by Michael Fossenkemper, Ju Presents Kjetil Moster bridges the gap between free jazz and hellacious, distortion-laced, guitar-driven hardcore rock. Music this ferocious hasn’t been heard since Laswell’s late, lamented Last Exit with Sonny Sharrock, Ronald Shannon Jackson and Peter Brotzman. The album opens on an explosive note with a turbulent tenor saxdrums breakdown between Moster and Halmos on “Dear Johan” which takes on the feel of latter day John Coltrane or free jazz icon Albert Ayler jamming with the Allman Brothers Band on “Whipping Post” or vintage King Crimson on “21st Century Schizoid Man.” “Bhajan” opens on a darker, more mysterious vibe before building to a potent crescendo, with Moster wailing on baritone sax, that is steeped in the tradition of Jimi Hendrix’s bold jazz-rock anthem “Third Stone From the Sun.” Moster stretches freely with baritone sax on the moody and spacious “Morze” while “Hassassin,” full of slamming unisons and fierce overblowing by Moster, is an intense showcase for drummer Halmos. Meszaros adds another frantic sixstring onslaught at the tag of this intense offering. The four intrepid improvisers explore collectively on the more atmospheric “KJU” and they close out the collection with the expansive, 15-minute “One,” which makes dramatic use of echo to create an otherworldly texture before building to a powerhouse conclusion of thunderous proportions. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

MOLÈ

TITLE

:

RGB

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR046 (CD) / RNR046LP (LP)

BARCODES

:

5060197760595 (CD) / 5060197760601 (LP)

RELEASE DATES :

NOVEMBER 24 (CD) / DECEMBER 15 (LP)

DIFFERENT DATES!

 

 


MUSICIANS:

     

 

MARK AANDERUD : PIANO, KEYBOARDS STOMU TAKEISHI : BASS HERNAN HECHT : DRUMS

FOR FANS OF:

ESBJORN SVENSSON TRIO, GOGO PENGUIN, PHRONESIS

GENRES:

MODERN JAZZ

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8. 9.

SUB-ALL REASONS TRICHROMATIC WINIP FREELANCE RODRIGUEZ T.OVERLAP INE SEST WIX

TRACKLIST (LP) : A1. SUB-ALL A2. REASONS A3. WINIP B1. RODRIGUEZ B2. INE SEST B3. WIX BLURB: TWO YEARS AFTER RELEASING THEIR FIRST ALBUM ON RARENOISE, MOLE’ RETURN WITH THEIR NEW ALBUM, CALLED RGB. MOLE’ PRESENT THEMSELVES NOW IN TRIO FORMATION, WITH

 

 


JAPANESE WONDER BASSIST STOMU TAKEISHI ON BASS DUTIES. COMPARED TO 2012’s “WHAT’S THE MEANING”, THE MUSIC HAS BECOME MORE ANGULAR, RHYTHMIC, AS ALWAYS SUSTAINED BY DRUMMER HERNAN HECHT (HIMSELF A GRAMMY WINNER AS A PRODUCER), WHO INCESSANTLY PROPELS THE MUSIC FORWARD WITH POLYRHYTHMIC VIRTUOSITY. MOLE’S SIGNATURE SOUND, WHOSE ORIGIN IS TO BE FOUND IN THE EXCELLENT AND MELODIC WRITING OF MARK AANDERUD, IS ALWAYS PRESENT THOUGH. MOLE’S MUSIC WILL DEEPLY PLEASE FANS OF MODERN JAZZ PIANO TRIO (THE ESBJORN SVENSSON TRIO, GOGO PENGUIN, PHRONESIS), AS THEY OFFER A TAKE THAT ON THE MUSIC THAT IS MORE RHYTHMIC AND SINGING, AS CAN BE EXPECTED WHEN CONSIDERING THEIR SOUTH AMERICAN ROOTS (ARGENTINA AND MEXICO). QUOTE (PROG MAGAZINE, ABOUT “WHAT’S THE MEANING?”) “HAUNTING AND MAGNIFICENT”

FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

OBAKE

TITLE

:

MUTATIONS

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR045 (CD) / RNR045LP (LP)

BARCODES

:

5060197760571 (CD) / 5060197760588(LP)

RELEASE DATES :

NOVEMBER 3 (CD) / NOVEMBER 23 (LP) (THREE WEEKS LATER FOR VINYL!

 

 


MUSICIANS

 

:

ERALDO BERNOCCHI – GUITARS LORENZO FORNASARI – VOICE COLIN EDWIN – BASS BALAZS PANDI - DRUMS

FOR FANS OF:

SUNN((((0))))), ULVER, OBAKE

GENRES:

ABSTRACT METAL, HEAVY METAL

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8.

SEVEN ROTTEN GLOBES SETH LIGHT TRANSFIGURATION THANATOS SECOND DEATH OF FOREG BURNT DOWN M INFINITE CHAIN

TRACKLIST (LP) : A1. A2. A3. A4. B1. B2. B3. B4.

 

SEVEN ROTTEN GLOBES SETH LIGHT TRANSFIGURATION THANATOS SECOND DEATH OF FOREG BURNT DOWN M INFINITE CHAIN

 


BLURB: Obake, are now in a new formations with Lorenzo Esposito Fornasari (vocals, piano, electronics), Eraldo Bernocchi (guitar, electronics),Balazs Pandi (drums) and Colin Edwin (Porcupine Tree – bass). This second album, Mutations arrives at the place where the energies of metal fuse with ambient electronica, jazz, and noise with the precision of math-rock and the groove of blues. Obake's sound harks back to the dawn of hard-rock, drawing upon a variety of influences from Sunn 0))), Popul Vuh, Ashra Tempel as much as Slayer, Tool, Melvins and Coil . Obake are made all the more distinctive by the fluid lyrical delivery and musings of a commanding operatic voice. Imposing in its darkness, encompassing in its beauty and ever powerful, Obake have lost nothing of their might since the release of their debut, if anything, they are more captivating now than ever before. Mutations was recorded by Daniel Sandor at Metropol Studio in Budapest, produced and mixed by Eraldo Bernocchi and Lorenzo Esposito Fornasari at The Place in Tuscany and mastered by Michael Fossenkemper at Turtletone Studio - NYC. QUOTE: (from the Quietus about the first Obake album)

"Yet more proof, if it were still needed, that heavy metal continues to throw up a sizeable chunk of the most forward looking music being released at the present moment. " The Quietus

FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

WADADA LEO SMITH, JAMIE SAFT, JOE MORRIS, BALAZS PANDI

TITLE

:

RED HILL

FORMATS

:

CD / DOUBLE LP (2 X 180GMS)

CAT NO:

:

RNR044 (CD) / RNR044LP (LP)

BARCODES

:

5060197760557 (CD) / 5060197760564 (LP)

RELEASE DATES :

 

 

SEPTEMBER 23 (CD) / SEPTEMBER 23 (LP)

 


MUSICIANS:

WADADA LEO SMITH : TRUMPET JAMIE SAFT : PIANO, FENDER RHODES JOE MORRIS : UPRIGHT BASS BALAZS PANDI : DRUMS

FOR FANS OF:

WADADA LEO SMITH, MILES DAVIS, JAMIE SAFT, JOE MORRIS

GENRES:

JAZZ, AVANT JAZZ

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6.

GNEISS JANUS FACE AGPAITIC TRAGIC WISDOM DEBTS OF HONOR ARFVEDSONITE

TRACKLIST (LP) : A1. GNEISS B1. JANUS FACE C1. AGPAITIC C2. TRAGIC WISDOM D1. DEBTS OF HONOR D2. ARFVEDSONITE

 

 


BLURB: Fueled by the urgent high note blasts and expressive muted trumpet work of avant garde icon Wadada Leo Smith and underscored by and uncanny group-think of RareNoise stalwarts Jamie Saft (Metallic Taste of Blood, Slobber Pup, Plymouth, The New Standard) on keyboards, Joe Morris (Plymouth, Slobber Pup, One) on upright bass and Balazs Pandi (Obake, Metallic Taste of Blood, Slobber, Pup, One) on drums, Red Hill is a kind of clarion call for the new avant garde. A dynamic, highly intuitive offering, Red Hill is full of tensions and releases and characterized by dramatic use of space juxtaposed with turbulent crescendos by the provocative collective. That this music really breathes and flows organic is due in no small part to the incredibly sensitive, remarkably flexible playing of Hungarian drummer Balazs, who covers a very wide spectrum on this recording. Pandi’s sensitive, highly interactive brushwork and coloristic cymbals underscore Smith’s lyrical muted trumpet playing on the sparse opener, “Gneiss.” And yet, when that piece builds to a turbulent crescendo near the end, the drummer is right there to fuel the frantic proceedings. With mallets, Pandi engages in a conversational duet with Smith at the outset to “Janus Face,” a piece that evolves from slow, open rubato statements to dense explosions of tumultuous free jazz sparked by Saft’s Cecil-esque attack on the piano. Saft switches to Fender Rhodes electric piano to attain another color on “Agpaitic,” a conversational romp that features some aggressive bowing on the bass by Morris. And Pandi supplies the rolling free pulse beneath Morris’ trance-like bass ostinato and Smith’s edgy trumpet excursions on “Tragic Wisdom,” which also has intrepid improvisor Saft plucking strings inside his piano.

 

 


Silence is the watchword on “Debts of Honor,” a thoughtful improvisation which evolves gradually over the course of nine minutes from zen-like tranquility to intense crescendo paced by Pandi’s relentless drumming and Saft’s spiky piano comping and is highlighted by some of Smith’s most powerful blowing of the session. The trumpeter begins the closing number, “Arfvedsonite,” with a high-note blast before Morris enters with some insistent arco work to create an edgy texture. Pandi’s rolling pulse with mallets and Morris’ resounding bass tones quickly establish a solid launching pad for Wadada’s stratospheric improvisations on trumpet, bringing this spell-binding collection to a ferocious conclusion. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

INTERSTATIC

TITLE

:

ARISE

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR043 (CD) / RNR043LP (LP)

BARCODES

:

5060197760533 (CD) / 5060197760540 (LP)

RELEASE DATES :

 

 

AUGUST 12 (CD) / AUGUST 12 (LP)

 


MUSICIANS:

     

 

ROY POWELL (HAMMOND ORGAN, KEYS) JACOB YOUNG (GUITARS) JARLE VESPESTAD (DRUMS)

FOR FANS OF:

JACOB YOUNG, JARLE VESPESTAD, TONY WILLIAMS LIFETIME, MAHAVISHNU ORCHESTRA

GENRES:

JAZZ-ROCK

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8. 9.

DOOZY MUGWUMP BLUES CAERBANNOG ALPHA DOG IWATO FRANK’LL FIX IT IN THE BEGINNING ALEXA WONDERFALL DOOZY (REPRISE)

TRACKLIST (LP) : A1. A2. A3. A4. B1. B2. B3. B4. B5.

DOOZY MUGWUMP BLUES CAERBANNOG ALPHA DOG IWATO FRANK’LL FIX IT IN THE BEGINNING ALEXA WONDERFALL DOOZY (REPRISE)

BLURB:

 

 


With each successive outing -- first 2011’s Anthem followed by their raucous RareNoise Records debut, 2013’s InterStatic -- the potent Norway-based trio of expatriate Brit organist Roy Powell, Norwegian guitarist Jacob Young and Norwegian drummer Jarle Vespestad has upped the ante on intensity and audaciousness while arriving at a nexus where rock organically meets jazz. Now the powerhouse unit has reached a new level with 2014’s superb Arise. Arise is an album of many influences - it shifts nimbly from rockblues anthems like “Doozy Mugwump Blues” and “Alexa” to intricate numbers like “Caerbannog” (named after the cave protected by the killer rabbit in the absurdly comedic 1975 film Monty Python and the Holy Grail) to the swinging “Alpha Dog"; Powell’s “Frank’ll Fix It,” (which you can listen to on the player on the left) full of challenging stop-time phrases, is dedicated to one of his major influences, Frank Zappa, while the dynamic “Wonderfall” carries the influence of the pioneering fusion band Lifetime featuring UK guitar hero John McLaughlin and Newark, New Jersey-based organist Larry Young. It is a new step in a natural progression in the language of InterStatic: with Anthem the band mixed the repertoire of a modern jazz organ trio with no distorted sounds with some more rock sounds; Then came InterStatic, which developed some of the ideas and injected a dose of psychedelia into the mix; now on Arise the gloves are off. REVIEW : MARLBANK.NET (STEPHEN GRAHAM) (****) Turn on Arise and you might think you’ve arrived by a complete fluke at some incredible party. There’s no obvious way to blag your way in, but somehow, gesturing, the gorillas on the door manage to growl obligingly: walk this way. Already in mid-stomp on the never knowingly undertitled ‘Doozy Mugwump Blues’, it’s Jacob Young,

 

 


unrecognisable from Forever Young, with the Gandalf of prog-jazz organ: the thoroughly thawed Brit-in-Norway Roy Powell, carrying Young and Tord Gustavsen drummer Jarle Vespestad along on some sort of highly contagious wave of euphoria. Unreconstructed prog for sure, the first signs just a minute or two in on a magisterial solo from Young as exciting as the first time I remember hearing Derek Trucks live. They’ve had a few records so far (the tentative Anthem three years ago, and last year’s much more considered InterStatic) and not overly-embarrassed by their own sense of bravado (I’d swear there was a quote from Nino Rota’s main theme from The Godfather along the way on ‘Caerbannog’), somehow Powell and Young hurl themselves through tricky chord changes on ‘Alpha Dog’ Vespestad wriggling along behind them like a stuntman on a mission. The lonesome organ setting Powell chooses to open ‘Iwato’ shows yet another side to the trio, and Young responds well, sounding so different on the next track, Powell’s infectious homage to Zappa, ‘Frank’ll Fix It’. It's left to ‘In the Beginning’ to bring everything down from orbit, the most Lifetime-like part of the album along with the penultimate track ‘Wonderfall’, and this trio to an extent continues the modern reimagining of Lifetime begun in more recent years by Jack DeJohnette and John Scofield. A cult band already, InterStatic just get better and better, Young’s solo on ‘Doozy Mugwump Blues’ worth the price of the album alone. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

INDIGO MIST

TITLE

:

THAT THE DAYS GO BY AND NEVER COME AGAIN

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR042 (CD) / RNR042LP (LP)

BARCODES

:

5060197760519 (CD) / 5060197760526 (LP)

RELEASE DATES :

 

 

AUGUST 12 (CD) / AUGUST 12 (LP)

 


MUSICIANS:

 

CUONG VU (TRUMPET) RICHARD KARPEN (PIANO AND LIVE ELECTRONICS SOUND DESIGN/COMPUTER PROGRAMMING) LUKE BERMAN (BASS) TED POOR (DRUMS)

FOR FANS OF:

CUONG VU, CONTEMPORARY CLASSICAL MUSIC, DUKE ELLINGTON, BILLY STRAYHORN, CHARLES MINGUS

GENRES:

JAZZ, CLASSICAL MUSIC, ELECTRO-ACOUSTIC MUSIC

TRACKLIST (CD) : 1. L’HEURE BLEUE 2. INDIGO MIST 3. A FLOWER IS A LOVESOME THING 4. BILLY 5. DUKE 6. IN A SENTIMENTAL MOOD 7. CHARLES 8. LUSH LIFE 9. THE ELECTRIC MIST 10. MOOD INDIGO

TRACKLIST (LP) : A1. A2. A3. A4.

 

L’HEURE BLEUE INDIGO MIST A FLOWER IS A LOVESOME THING BILLY

 


B1. B2. B3. B4. B5. B6.

 

DUKE IN A SENTIMENTAL MOOD CHARLES LUSH LIFE THE ELECTRIC MIST MOOD INDIGO

BLURB: Trumpeter-composer Cuong Vu has established himself as a distinctive voice on the new music/improvising scene for his adventurous work over the past 20 years with the likes of guitarist Bill Frisell, Pat Metheny and Laurie Anderson as well as his body of works as leader. Electro-acoustic composer and pianist Richard Karpen has earned accolades for his work in the classical field as well as for being a cutting edge sonic experimenter of the highest order. Joined by their faculty colleagues at the University of Washington, innovative bassist Luke Berman and Vu’s longstanding bandmate, drummer Ted Poor, these two kindred spirits push the envelope in a myriad of provocative ways on That The Days Go By And Never Come Again , an extended suite that pays tribute to the indelible composing team of Duke Ellington and Billy Strayhorn in a most uncompromising fashion. The four participants met at the University of Washington, and played together several times (including in live performance situations) before finally devising a plan for this uncompromising electro-acoustic outing. As Karpen explains, “The piece was developed over many months and the computer technologies, which

 

 


are very complicated from a computer application point of view, also took months of planning and software development at the Center for Digital Arts and Experimental Media at the University of Washington. We knew early on, based on Cuong's initial idea, that we would be basing this work on the music of Ellington and to some extent a conceptual reference to the music of Charles Mingus. With regard to Mingus, it's not any particular piece of his but the way in which musical ideas drift in and out of focus, into and out of what you might call ‘musical realism’ and ‘musical surrealism.’ That's something one hears also in Beethoven and it's a way of working with musical time and memory that has resonated with me from when I was a very young composer. I would also include great film artists such as Buñuel and Tarkovsky as continual inspirations for this kind of compositional approach that dares us to play so provocatively with the expectations of the audience using memory and archetypes as volatile and evocative artistic material. It has been a complete joy to explore this rich terrain collectively with Cuong and his bandmates all of whom are so brilliantly dedicated to their craft as musicians and have the vision and artistic instincts to be truly adventurous” REVIEW : MARLBANK.NET (STEPHEN GRAHAM) (***1/2) Opening with an epic drum solo from Ted Poor, this highly unusual Ellington/Strayhorn-themed album, featuring collectively written material from the quartet of former Pat Metheny Group trumpeter Cuong Vu with pianist Richard Karpen, bassist Luke Bergman, and drummer Poor, featuring most strikingly an achingly lonesome version of ‘In a Sentimental Mood’ as well as ‘Mood Indigo’, ‘A Flower is a Lovesome Thing’, and a particularly dystopian ‘Lush Life.’ That the Days… also involves the use quartet of “live iPad performers” and electro-acoustic take on Ellingtonia. confounds expectations and bathes the

 

of live electronics from a is dressed as a futuristic An album that certainly classic Ellingtonia material

 


in a new light, the swirl of sound, with its eerie Laswellian sense of mystery, means you’re never quite sure what’s around the corner next. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

JAMIE SAFT, STEVE SWALLOW, BOBBY PREVITE

TITLE

:

THE NEW STANDARD

FORMATS

:

CD / DOUBLE LP (180GMS)

CAT NO:

:

RNR041 (CD) / RNR041LP (LP)

BARCODES

:

5060197760496 (CD) / 5060197760502 (LP)

RELEASE DATES :

 

 

19 MAY 2014 (CD) / 19 MAY 2014 (LP)

 


MUSICIANS:

JAMIE SAFT (PIANO, ORGANS) STEVE SWALLOW (EL. BASS) BOBBY PREVITE (DRUMS)

FOR FANS OF:

JAMIE SAFT, STEVE SWALLOW, 60’s JAZZ TRIO, SOUL

GENRES:

JAZZ

TRACKLIST (CD) : 1. CLARISSA 2. MINOR SOUL 3. STEP LIVELY 4. CLEARING 5. TREK 6. THE NEW STANDARD 7. I SEE NO LEADER 8. BLUE SHUFFLE 9. ALL THINGS TO ALL PEOPLE 10. SURRENDER THE CHAISE TRACKLIST (LP) : A1. CLARISSA A2. MINOR SOUL A3. STEP LIVELY B1. CLEARING B2. TREK B3. THE NEW STANDARD C1. I SEE NO LEADER C2. BLUE SHUFFLE D1. ALL THINGS TO ALL PEOPLE D2. SURRENDER THE CHAISE

 

 


BLURB:

     

 

While Jamie Saft has been a significant presence on previous RareNoise recordings by Slobber Pup, Plymouth and Metallic Taste of Blood, the renegade keyboardist and essential Downtown improviser steps into a dramatically different role on The New Standard. A collaborative trio outing featuring the dream rhythm tandem of drummer Bobby Previte and bassist Steve Swallow , both prolific composers and venerable bandleaders in their own right, it showcases Saft alternating between piano and organ and making thoughtful, melodic contributions throughout. On ten original tracks, seven of which the keyboardist composed, Saft blends brilliantly with his esteemed elders on this remarkable RareNoise release which is released on CD and Double Vinyl. The album is the result of a magical recording and direct mixing session in Saft’s own Pottervilles Studios, masterfully setup and captured by 5 - Time Grammy winning engineer Joe Ferla , who is regarded as the fourth member of the band for this remarkably empathetic endeavour. Ferla recorded everything analog direct to two-track 1/2" tape through a Neve console. The sonic integrity of the session was then realized with a fully analog vinyl master - the 180-gram dual gatefold vinyl pressing of the album will never have seen ANY computer interference . Engineers on the mastering and lacquer cutting sessions were Scott Hull and Alex DeTurk of Mastedisk. Scott compiled the vinyl masters by editing the original master recordings together one side at a time. Alex DeTurk cut the vinyl lacquers under Scott's supervision on the vinyl lathe at Masterdisk direct from the compiled analog masters. REVIEW : MARLBANK.NET (STEPHEN GRAHAM) “Not to be confused with a seminal 1990s Herbie Hancock record of the same name, erstwhile John Zorn sideman Jamie Saft, Giuffre veteran and latterday Impossible Gentleman the great Steve

 

 


Swallow, and hipster rhythm rainmaker drummer Bobby Previte, who included Saft in his Coalition of the Willing band, fire up a storm here on an album mostly made up of Saft’s fine tunes. The album gets into the zone on ‘Minor Soul’ after a swinging start on ‘Clarissa’, Previte stroking the band home. Pretty much rhythm section heaven throughout but nothing flashy Saft thrives on the beat and plays his socks off, churchy and down home on the band-written gem ‘Step Lively’, the piano exuding a rudimental vibration, Swallow bumping the band along from the bass drum up. ‘Clearing’ has some magisterial organ and a surprising grandeur to it that takes you back to some beyond-genre organavailing prog and ’baroque’ rock records made in the 60s even though this is an out-and-out jazz record of considerable class that ultimately makes you want to listen to a lot of Ray Charles records as well as of course hitting replay once the 10 tracks are up. Previte takes a fine solo at the beginning of ‘Trek’, Swallow knitting in, while Saft is subtle when he enters. The title track has an agenda-setting bass guitar melody line at the beginning, Saft taking up the momentum with the swinging ‘I See No Leader’ those four words in the tune title could well be the maxim for this democratic album where all three are as one and egos are checked at the door (at least you feel that as a listener).

The New Standard really moves Saft centre stage as a writer as much as an intuitive new star of the organ (he’s already under the radar on some extraordinary records including Dave Douglas’ Freak In more than a decade ago now). But this record will do him no end of good in the limelight. And it’s a joy to hear Previte on infectious form, while Swallow seems to be enjoying himself on material that is not meant to be a stretch for him compared to say the Impossible Gentlemen charts or his work with Carla Bley. Saft is also on the very different new album PLYMOUTH (also on RareNoiseRecords) which shows his considerable range. SG FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

PLYMOUTH

TITLE

:

PLYMOUTH

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR040 (CD) / RNR040LP (LP)

BARCODES

:

5060197760458 (CD) / 5060197760465 (LP)

RELEASE DATES :

 

 

7 APRIL 2014 (CD) / 21 APRIL 2014 (LP)

 


MUSICIANS:

JAMIE SAFT (PIANO, ORGANS) JOE MORRIS (EL. GUITAR) MARY HALVORSON (EL. GUITAR) CHRIS LIGHTCAP (EL. BASS) GERALD CLEAVER (DRUMS)

FOR FANS OF:

JAMIE SAFT, MARY HALVORSON, JOE MORRIS

GENRES:

PSYCHEDELIC AVANT-JAZZ

TRACKLIST (CD) : 1. MANOMET 2. PLIMOUTH 3. STANDISH TRACKLIST (LP) : A1. PLIMOUTH A2. STANDISH PT.1 B1. STANDISH PT.2

BLURB: Following on the heels of their successful collaboration on 2013‘s Slobber Pup , one of the most intensely throbbing releases in the RareNoise catalog, keyboardist Jamie Saft and guitarist Joe Morris have reunited for another potent and provocative offering in Plymouth . Joining them on the three expansive pieces that comprise this purely improvised set are the indelible rhythm tandem of bassist Chris Lightcap and drummer Gerald Cleaver, who have played together in various settings (including Morris’ quartet) since the late ‘90s, and rising star avant garde guitarist Mary Halvorson (a former student of Morris’). Together they create compelling stream-ofconscious sonic excursions that range from zen-like quietude to hellacious distortion-laced fury, as on the 20-minute “Manomet,” the 13-minute title track and the 29-minute journey, “Standish.” Nothing is ever predictable or resolves neatly on this audacious, wildly

 

 


uncompromising outing.

Down Beat writer John Ephland reviewed Plymouth’s U.S. debut on a special RareNoise label showcase held at Shapeshifter lab in Brooklyn on Dec. 13, 2013: “Beginning with a dose of dreamy electric piano, Plymouth brought on a storm of floating, shimmering rubato. The playing centered around a gently implied beat. Halvorson’s guitar work started with deft, unobtrusive slide playing, which provided a contrast to Morris’ more dedicated single-note lines. Saft’s chimey chords directed the music into a loose-limbed rock cadence, while Morris’ hard-edged picking served as a drone. Halvorson replied with lush chordal phrases, while Saft’s scarymovie organ lines were a lattice for what became a two-note jam of squirrelly lines, repeated over and over. Saft continued with dense thickets of sound combined with repeated loops and pedal effects from both guitarists. By this point, there was an audible heaving and sighing over a definite groove, menacing but also somehow innocent. The group improvisation could be heard as a collection of voices—five individuals foraging through a forest of sounds.”

FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

FREE NELSON MANDOOMJAZZ

TITLE

:

THE SHAPE OF DOOMJAZZ TO COME + SAXOPHONE GIGANTICUS (DOUBLE EP)

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR039 (CD) / RNR039LP (LP)

BARCODES

:

5060197760472 (CD) / 5060197760489 (LP)

RELEASE DATES :

 

 

14 FEBRUARY 2014 (CD) / 7 MARCH 2014 (LP)

 


MUSICIANS:

REBECCA SNEDDON (SAX) COLIN STEWART (BASS) PAUL ARCHIBALD (DRUMS)

MIXED BY:

ERALDO BERNOCCHI

FOR FANS OF:

SUNN((((0)))), PAINKILLER, KILIMANJARO DARKJAZZ ENSEMBLE, MOUNT FUJI DOOMJAZZ CORPORATION

GENRES:

DOOM JAZZ

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7.

WHERE MY SOUL CAN BE FREE INTO THE SKY THE MASQUE OF THE RED DEATH NOBODY FUCKING POSTS TO THE UAE K54 SAXOPHONE GIGANTICUS BLACK SABBATH

TRACKLIST (LP) : A1. A2. A3. B1. B2. B3. B4.

 

WHERE MY SOUL CAN BE FREE INTO THE SKY THE MASQUE OF THE RED DEATH NOBODY FUCKING POSTS TO THE UAE K54 SAXOPHONE GIGANTICUS BLACK SABBATH

 


BLURB:

     

 

With a crunching sound that is as teeth-chatteringly heavy as metal icons like Slayer and Megadeth or ferocious grindcore groups like Napalm Death and Brutal Truth, yet is imbued with the freedom principle of such avant garde jazz icons as saxophonists Marshall Allen, Albert Ayler and Peter Brotzman, the formidable instrumental power trio from Scotland known as Free Nelson Mandoom Jazz debuts on the London-based RareNoise label with a provocative double EP that will confound jazz critics as it challenges the thrashmetalgrindcore community. Jointly named for the late South African freedom fighter Nelson Mandela and the genre of fuzz-bass-inflected heavy-duty improvisation dubbed ‘doomjazz’, this renegade trio of bassist Colin Stewart, drummer Paul Archibald and alto saxophonist Rebecca Sneddon rattles the very grey matter of your brain on their imposing Shape of Doomjazz to Come/Saxophone Giganticus. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

CHAT NOIR

TITLE

:

ELEC3CITIES

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR038 (CD) / RNR038LP (LP)

BARCODES

:

5060197760434 (CD) / 5060197760441 (LP)

RELEASE DATES :

 

 

7 APRIL 2014 (CD) / 21 APRIL 2014 (LP)

 


MUSICIANS:

MICHELE CAVALLARI (PIANO, ANALOG SYNTHS) LUCA FOGAGNOLO (BASS, GUITAR, FX) GIULIANO FERRARI (DRUMS, FX)

FOR FANS OF:

E.S.T. (ESBJORN SVENSSON TRIO), DJ SHADOW, NITIN SAWHNEY, AIR, 4HERO

GENRES:

TRIP-HOP/JAZZ TRIO

TRACKLIST (CD) : 1. 2. 3. 4. 5. 6. 7. 8.

AVANT BUDDHA CHELSEA HIGH LINE NINTH PEARLS RADIO SHOW PEACEFUL OUR HEARTS HAVE BEEN BOMBED ASPEKT

TRACKLIST (LP) : A1. A2. A3. A4. B1. B2. B3. B4.

AVANT BUDDHA CHELSEA HIGH LINE NINTH PEARLS RADIO SHOW PEACEFUL OUR HEARTS HAVE BEEN BOMBED ASPEKT

BLURB: By organically blending elements of electronica and ambient music with bits of chamber music and jazz, the innovative trio of pianist Michele Cavallari, bassist Luca Fogagnolo and drummer Guiliano Ferrari has come up with a wholly unique sound on Elec3Cities that may establish a daring new direction for the piano trio. This delicate

 

 


balance of electronic experimentalism and acoustic piano jazz has been evolving gradually from the group’s initial release in 2006, Adoption , and continued on 2007’s Decoupage through 2008’s Difficult to See You and 2011’s acclaimed Weather Forecasting Stone . But the three Italian musicians take it to a wholly new level on Elec3Cities , their most overtly experimental outing to date and debut for the London-based RareNoise label. Following in the footsteps of such pioneering North European electronic jazz artists as E.S.T., Nils Petter, Molvaer, Eivind Aarset, Jan Bang, Eric Honore, Arve Henriksen and bands like SupersiIent and Jaga Jazzist, Chat Noir are poised to take their place on that new music scene with the release of Elec3Cities , their most adventurous and potent project to date.

FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

:

COLIN EDWIN and LORENZO FELICIATI

TITLE

:

TWINSCAPES

FORMATS

:

CD / SINGLE LP (180GMS)

CAT NO:

:

RNR037 (CD) / RNR037LP (LP)

BARCODES

:

5060197760410 (CD) / 5060197760427 (LP)

RELEASE DATES :

 

 

14 FEBRUARY 2014 (CD) / 7 MARCH 2014 (LP)

 


MUSICIANS:

COLIN EDWIN (BASS, PEDALS, FX) LORENZO FELICIATI (BASS, PEDALS, FX) NILS PETTER MOLVAER (TRUMPET) DAVID JACKSON (SAXOPHONE) ANDI PUPATO (VARIOUS PERCUSSION) ROBERTO GUALDI (DRUMS)

MIXED BY:

BILL LASWELL

FOR FANS OF:

KING CRIMSON, PORCUPINE TREE, NIK BARTSCH’S RONIN, BRIAN ENO, BILL LASWELL

GENRES:

INSTRUMENTAL PROGRESSIVE JAZZ ROCK

TRACKLIST (CD) : 1. SHAKEN 2. ALICE 3. IN DREAMLAND 4. BREATHSKETCH 5. TRANSPARENT 6. i-DEA 7. CONSPIRACY 8. PERFECT TOOL 9. SPARSE 10. YÜGEN 11. SOLOS TRACKLIST (LP) : A1. A2. A3. A4. B1. B2. B3. B4.

 

SHAKEN ALICE TRANSPARENT PERFECT TOOL CONSPIRACY I-DEA SPARSE IN DREAMLAND

 


BLURB: Two bassists from two different continents - Italian Lorenzo Feliciati of the adventurous jazz-rock band Naked Truth and the intensely searching nu jazz group Berserk! and Australian Colin Edwin of the longstanding prog-rock band Porcupine Tree and the heavy-duty, experimental Metallic Taste of Blood as well as Ex-Wise Heads and Burnt Belief - come together to make one potent statement on Twinscapes . With special guest appearances by acclaimed trumpeter Nils Petter Molvaer, saxophonist David Jackson (of Van der Graaf Generator), Swiss percussionist Andi Pupato (of Andreas Vollenweider and Nik Bartsch’s Ronin ) and drummer Roberto Gualdi (of the Italian prog-rock band PFM ), this bass-dominant project, which was mixed by renowned bassist-producer Bill Laswell, travels from ambient soundscapes to slamming funk workouts and kinetic grooves to cinematic-sounding pieces that defy easy categorization. And there are plenty of virtuosic fireworks along the way by all the principal soloists on this outstanding RareNoise release. FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST

MUMPBEAK

(Musicians)

ROY POWELL – alto sax BILL LASWELL – electric bass SHANIR EZRA ROSENKRANTZ – electric bass LORENZO FELICIATI – electric bass TONY LEVIN – electric bass PAT MASTELOTTO - drums

TITLE

MUMPBEAK

Format: Label:

4 PANEL CD DIGIPACK RARENOISERECORDS

CAT NO:

RNR035

File under: For Fans of:

PROGRESSIVE ROCK / PROGRESSIVE JAZZ

BARCODE:

5060197760403

ARTWORK:

TBC

KING CRIMSON / RUSH / BILL LASWELL / STICKMEN

 

TRACKLIST: Biscuit Forelock Monocle Nork Oak Chain Piehole

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) : http://snd.sc/1626TV6

PRODUCT SHIPPING STATUS : CD SHIPPING TO YOU FROM October 20 th .  

 


VINYL FROM November 7th

TARGET RELEASE DATES

UK/US/EU: 15 th 2013

November

PRESS CAMPAIGN:

from early October in UK/US/Germany/Italy

BLURB (FOR YOUR QUOTES): Will be updated soon

 

 


ARTIST

MUMPBEAK

(Musicians)

ROY POWELL – alto sax BILL LASWELL – electric bass SHANIR EZRA ROSENKRANTZ – electric bass LORENZO FELICIATI – electric bass TONY LEVIN – electric bass PAT MASTELOTTO - drums

TITLE

MUMPBEAK

Format: Label:

single 180 gms VINYL RARENOISERECORDS

CAT NO:

RNR035LP

File under: For Fans of:

PROGRESSIVE ROCK / PROGRESSIVE JAZZ

BARCODE:

5060197760397

ARTWORK:

TBC

KING CRIMSON / RUSH / BILL LASWELL / STICKMEN

 

TRACKLIST: SIDE A Biscuit Forelock Monocle Nork SIDE B Oak Chain Piehole

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) : http://snd.sc/1626TV6

 

 


PRODUCT SHIPPING STATUS : CD SHIPPING TO YOU FROM October 20 th . VINYL FROM November 7th

TARGET RELEASE DATES

UK/US/EU: 15 th 2013

November

PRESS CAMPAIGN:

from early October in UK/US/Germany/Italy

BLURB (FOR YOUR QUOTES): Will be updated soon

 

 


ARTIST

IVO PERELMAN / JOE MORRIS / BALAZS PANDI

(Musicians)

IVO PERELMAN – alto sax JOE MORRIS – electric bass BALAZS PANDI – Drums

TITLE

ONE

Format: Label:

4-Panel CD Digipack RARENOISERECORDS

CAT NO:

RNR034

File under: For Fans of:

JAZZ / FREE JAZZ

BARCODE:

5060197760373

ALBERT AYLER, JOHN COLTRANE

ARTWORK:    

   

TRACKLIST:

Freedom What Love Can Lead To To Remember What Never Existed  

 


One Universal Truth Stigma

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) : http://snd.sc/1cHD1z1

PRODUCT SHIPPING STATUS : CD SHIPPING TO YOU FROM September 23rd VINYL FROM October 21 st (delays are being experienced)

TARGET RELEASE DATES

UK/US/EU:

PRESS CAMPAIGN:

NOW

October 1 st

BLURB (FOR YOUR QUOTES): "An Album To Clear Every Conceivable Cobweb Available" – Marlbank "Free jazz don't come any freer than this and still qualify as music."MidWestRecord "Arguably the greatest tenor saxophonist since John Coltrane,Ivo Perelman boldly goes where no tenor sax player has gone before." - CriticalJazz/Bop-N-Jazz

 

 


ARTIST

:

IVO PERELMAN / JOE MORRIS / BALAZS PANDI

TITLE

:

ONE

FORMATS

:

CD / SINGLE LP

CAT NO:

:

RNR034 (CD) / RNR034LP (LP)

BARCODES

:

5060197760373 (CD) / 5060197760380 (LP)

RELEASE DATES : 04 OCTOBER 2013 (CD) / 9 th NOVEMBER 2013 (LP)

 

 


TRACKLIST (CD) : 1. 2. 3. 4. 5. 6.

Freedom What Love Can Lead To To Remember What Never Existed One Universal Truth Stigma

TRACKLIST (LP) : A1. A2. A3. B1. B2.

Freedom What Love Can Lead To To Remember What Never Existed One Stigma

Opportunity : In April 2013 the pre-eminent free-jazz saxophone player of our times, Ivo Perelman, comes down to The Stone, John Zorn's experimental music club on Manhattan's Lower East Side, to hear the drummer play with Slobber Pup, a thunderously intense band featuring Morris on distortion-laced guitar, Trevor Dunn on electric bass and Jamie Saft on keyboards. Motive: After that performance, Ivo Perelman says "I totally enjoyed Balazs' playing, although I had to cover my ears at times because I wasn't used to hearing such intense music. And as I watched them I thought that if we played together it would sound great with Joe on electric bass, just to give it that punch to match Balazs' intense backbeats." Crime: With no rehearsals, no charts, no sketches or musical road maps whatsoever, one week later the three risk-taking musicians enter Ivo Perelman's studio and make a joyful noise in daring, unadulterated fashion, pulling no punches while following their instincts from start to finish. Fueled by the hard and fast beats of Pandi, who also demonstrates his remarkably versatile

 

 


skills and keen listening instincts throughout the session, One is a highly interactive studio encounter that borders on the telepathic at times. And with Perelman's cathartic, Albert Aylerinspired tenor sax blowing on top and Morris' electric bass lines bubbling underneath, sparks ensue on this turbulent project.

"An Album To Clear Every Conceivable Cobweb Available" – Marlbank "Free jazz don't come any freer than this and still qualify as music."MidWestRecord "Arguably the greatest free tenor saxophonist since John Coltrane.CriticalJazz/Bop-N-Jazz FOR INFORMATION : giacomo@rarenoiserecords.com

 

 


ARTIST (Musicians)

 

BRAINKILLER JACOB KOLLER – fender, piano BRIAN ALLEN - trombone HERNAN HECHT – Drums

TITLE

COLOURLESS GREEN SUPERHEROES

Format: Label:

4 PANEL CD DIGIPACK RARENOISERECORDS

CAT NO:

RNR033

File under: For Fans of:

JAZZ / PROG ROCK /

BARCODE:

FRANK ZAPPA, COPPE’, ANTHONY BRAXTON, ROSWELL RUDD

5060197760311

ARTWORK:    

TRACKLIST: The Vindicator Returns Scribble Empty Words (featuring Coppe) Top of the World Orange Grey Shades A Piedi Verso il Sole Plates  

 


Noodlin Labratorio Secret Mission Otaku Goes to a Rave Viv To Be Continued

 

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) :

FORTHCOMING (WILL BE FORWARDED TO YOU SHORTLY) PRODUCT SHIPPING STATUS : 1 ST (FROM US TO YOU)

WEEK OF JUNE

TARGET RELEASE DATES

UK/US/EU: JUNE 25

JUNE 18 or

PRESS CAMPAIGN:

NEXT MONTH ITALY , JUNE UK, US

BLURB (FOR YOUR QUOTES): “BRAINKILLER have produced a triumphant music that is always bright and refreshingly original” (PROG) “The trio mix a rock attitude with a close-miked intimacy and a jazz sense of freedom. But they also know to get out of a tune quick before it gets nerdy, and they never veer far from that fundamental truth, a damn good tune” (JazzWise) “These seasoned musicians can deliver diversity, from avantgardism and electronic exploitation to workings that are imaginative and progressive.” (AllAboutJazz)

 

 


ARTIST (Musicians)

 

SLOBBER PUP JAMIE SAFT – Organ, keyboards TREVOR DUNN – Bass JOE MORRIS – Guitars BALAZS PANDI : Drums

TITLE

BLACK ACES

Format:

DOUBLE VINYL (2X180GMS) GATEFOLD

Label:

RARENOISERECORDS

CAT NO:

RNR032LP

File under: For Fans of:

BLUES / METAL / MICROTONAL BLUES

BARCODE:

LAST EXIT, MAHAVISHNU ORCHESTRA, NAKED CITY, JAMIE SAFT, TOMAHAWK

5060197760359

ARTWORK: TRACKLIST:

A1. ACCUSER B1. ACCUSER (REPRISE) B2. BASALT C1. BLACK ACES D1. SUFFRAGE D2. TAINT OF SATAN

 

 


PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) :

LINK 1 PRODUCT SHIPPING STATUS : 2 ND / 3 rd WEEK OF APRIL (FROM US TO YOU) TARGET RELEASE DATES

UK/US/EU:

JUNE 4TH

PRESS CAMPAIGN:

STARTED ITALY , STARTING APRIL UK, US

BLURB (FOR YOUR QUOTES): With an audacious, uncompromising spirit, Slobber Pup wails with impunity on its savagely fierce, purely improvised RareNoise Records debut, Black Aces . An all-star aggregation masterminded by in-demand keyboardist Jamie Saft (New Zion Trio, Bad Brains, Beastie Boys, Metallic Taste of Blood, Merzbow, as well as numerous projects with John Zorn including Electric Masada and The Dreamers), Slobber Pup brings together the disparate talents of electric bassist Trevor Dunn (Mr. Bungle, The Melvins, Fantomas, Tomahawk, and several John Zorn projects including Electric Masada, The Dreamers and Moonchild), guitarist Joe Morris (a free jazz icon whose discography numbers over 100 albums as a leader/co-leader over the past 30 years) and Hungarian hardcore drummer Balazs Pandi (Obake, Metallic Taste of Blood, Merzbow, Otto Von Shirach, Venetian Snares). UPCOMING LIVE PERFORMANCES : THE STONE NYC – APRIL 16TH 2013 CAFE9, NEWHAVEN, NYC – APRIL 23RD 2013  

 


ARTIST (Musicians)

 

SLOBBER PUP JAMIE SAFT – Organ, keyboards TREVOR DUNN – Bass JOE MORRIS – Guitars BALAZS PANDI : Drums

TITLE

BLACK ACES

Format: Label:

4 PANEL CD DIGIPACK RARENOISERECORDS

CAT NO:

RNR032

File under: For Fans of:

BLUES / METAL / MICROTONAL BLUES

BARCODE:

LAST EXIT, MAHAVISHNU ORCHESTRA, NAKED CITY, JAMIE SAFT, TOMAHAWK

5060197760298

ARTWORK:    

TRACKLIST:

1. ACCUSER 2. BASALT 3. BLACK ACES 4. SUFFRAGE 5. TAINT OF SATAN

 

 


PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) :

LINK 1 PRODUCT SHIPPING STATUS : 2 ND / 3 rd WEEK OF APRIL (FROM US TO YOU) TARGET RELEASE DATES

UK/US/EU:

JUNE 4TH

PRESS CAMPAIGN:

STARTED ITALY , STARTING APRIL UK, US

BLURB (FOR YOUR QUOTES): With an audacious, uncompromising spirit, Slobber Pup wails with impunity on its savagely fierce, purely improvised RareNoise Records debut, Black Aces . An all-star aggregation masterminded by in-demand keyboardist Jamie Saft (New Zion Trio, Bad Brains, Beastie Boys, Metallic Taste of Blood, Merzbow, as well as numerous projects with John Zorn including Electric Masada and The Dreamers), Slobber Pup brings together the disparate talents of electric bassist Trevor Dunn (Mr. Bungle, The Melvins, Fantomas, Tomahawk, and several John Zorn projects including Electric Masada, The Dreamers and Moonchild), guitarist Joe Morris (a free jazz icon whose discography numbers over 100 albums as a leader/co-leader over the past 30 years) and Hungarian hardcore drummer Balazs Pandi (Obake, Metallic Taste of Blood, Merzbow, Otto Von Shirach, Venetian Snares). UPCOMING LIVE PERFORMANCES : THE STONE NYC – APRIL 16TH 2013 CAFE9, NEWHAVEN, NYC – APRIL 23RD 2013  

 


ARTIST (Musicians)

 

BERSERK! Lorenzo Esposito Fornasari – voice / electronics / Organ / Guitars Lorenzo Feliciati – Electric Bass/Upright Bass WITH Gianluca Petrella – Trombone Fabrizio Puglisi – Piano/Arp Odyssey Jamie Saft – Keyboards Eivind Aarset – Guitars Sandro Satta – Alto Sax Cristiano Calcagnile – Drums/fx Simone Cavina : Drums Pat Mastelotto : Drums/fx

TITLE

BERSERK!

Format: Label:

DOUBLE 180GM VINYL GATEFOLD RARENOISERECORDS

CAT NO:

RNR031LP

File under: For Fans of:

JAZZ-ROCK / PSYCHEDELIA / TRIPHOP

BARCODE:

THE KILIMANJARO DARKJAZZ ENSEMBLE, PINK FLOYD, MASSIVE ATTACK, AREA, TOM WAITS

5060197760342

ARTWORK:

   

 


TRACKLIST:

 

 

A1. Macabre Dance A2. Fetal Claustrophobia B1. Blow B2. Not Dead B3. Clairvoyance C1. First C2. Dream Made Of Wind C3. Nothing To Say D1. Latent Prints D2. Dream Made Of Water

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) :

LINK 1 LINK 2 PRODUCT STATUS:

LAST WEEK OF MARCH/FIRST WEEK OF APRIL

TARGET RELEASE DATES

UK/US/EU: APRIL 7TH – AS ANNOUNCED ON RARENOISE SITE BUT STOCK TO BE RECEIVED END OF MARCH SO DELIVERY AS AND WHEN …) , NEWSPAPERS HAVE FIRST/SECOND WEEK APRIL

PRESS CAMPAIGN:

JUST STARTED UK, ITALY, US

 

 


BLURB (FOR YOUR QUOTES):

 

The first-ever collaboration between Italian bassist-composer Lorenzo Feliciati and Italian vocalist-multi-instrumentalist-sonic provocateur Lorenzo Esposito Fornasari (aka LEF) defies easy categorization as it awakens the senses. At times darker than the Grim Reaper and heavier than the soundtrack for the Apocalypse, it can turn on a dime and swing insistently, or wail mournfully, or float mysteriously.

Is it rock? Is it jazz? Is it ambient, avant garde, opera or something else? Regardless of tags, the music that Feliciati and Fornasari make together as Berserk! on their self-titled debut stands an imposing manifesto. It is an iron fist upside the head of complacency. With the two Lorenzos at the core of this formidable collective, they brought in such potent and provocative voices as guitarist Eivind Aarset, trombonist Gianluca Petrella, alto saxophonist Sandro Satta, keyboardists Fabrizio Puglisi and Jamie Saft, and drummers Cristiano Calcagnile, Pat Mastelotto (Feliciati’s bandmate in Naked Truth) and Simone Cavina to enhance the proceedings.

 

 


ARTIST (Musicians)

 

BERSERK! Lorenzo Esposito Fornasari – voice / electronics / Organ / Guitars Lorenzo Feliciati – Electric Bass/Upright Bass WITH Gianluca Petrella – Trombone Fabrizio Puglisi – Piano/Arp Odyssey Jamie Saft – Keyboards Eivind Aarset – Guitars Sandro Satta – Alto Sax Cristiano Calcagnile – Drums/fx Simone Cavina : Drums Pat Mastelotto : Drums/fx

TITLE

BERSERK!

Format: Label:

4 PANEL CD DIGIPACK RARENOISERECORDS

CAT NO:

RNR031

File under: For Fans of:

JAZZ-ROCK / PSYCHEDELIA / TRIPHOP

BARCODE:

THE KILIMANJARO DARKJAZZ ENSEMBLE, PINK FLOYD, MASSIVE ATTACK, AREA, TOM WAITS

5060197760304

ARTWORK:

   

 


TRACKLIST:

 

 

A1. Macabre Dance A2. Fetal Claustrophobia B1. Blow B2. Not Dead B3. Clairvoyance C1. First C2. Dream Made Of Wind C3. Nothing To Say D1. Latent Prints D2. Dream Made Of Water

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE) :

LINK 1 LINK 2 PRODUCT STATUS:

LAST WEEK OF MARCH/FIRST WEEK OF APRIL

TARGET RELEASE DATES

UK/US/EU: APRIL 7TH – AS ANNOUNCED ON RARENOISE SITE BUT STOCK TO BE RECEIVED END OF MARCH SO DELIVERY AS AND WHEN …) , NEWSPAPERS HAVE FIRST/SECOND WEEK APRIL

PRESS CAMPAIGN:

JUST STARTED UK, ITALY, US

 

 


BLURB (FOR YOUR QUOTES):

 

The first-ever collaboration between Italian bassist-composer Lorenzo Feliciati and Italian vocalist-multi-instrumentalist-sonic provocateur Lorenzo Esposito Fornasari (aka LEF) defies easy categorization as it awakens the senses. At times darker than the Grim Reaper and heavier than the soundtrack for the Apocalypse, it can turn on a dime and swing insistently, or wail mournfully, or float mysteriously.

Is it rock? Is it jazz? Is it ambient, avant garde, opera or something else? Regardless of tags, the music that Feliciati and Fornasari make together as Berserk! on their self-titled debut stands an imposing manifesto. It is an iron fist upside the head of complacency. With the two Lorenzos at the core of this formidable collective, they brought in such potent and provocative voices as guitarist Eivind Aarset, trombonist Gianluca Petrella, alto saxophonist Sandro Satta, keyboardists Fabrizio Puglisi and Jamie Saft, and drummers Cristiano Calcagnile, Pat Mastelotto (Feliciati’s bandmate in Naked Truth) and Simone Cavina to enhance the proceedings.

 

 


ARTIST

MERZBOW / MATS GUSTAFSSON BALAZS PANDI

TITLE

CUTS

Format:

DOUBLE 180GM VINYL GATEFOLD

Label:

RARENOISERECORDS

CAT NO:

RNR030LP

File under:

NOISE / NOISE JAZZ

For Fans of:

MERZBOW, NIC ENDO, MATS GUSTAFSSON

BARCODE:

5060197760335

Cover:          

 

 

 


TRACKLIST:

A1. evil knives. lines. B1. deep lines. cuts. C1. the fear too. invisible. C2. like me. like you. D1. like razor blades in the dark.

NOTE: the capitalization is essential (small) as is the punctuation ( “.” After each sentence fragment)

PRIVATE SOUNDCLOUD LINK :

https://soundcloud.com/rarenoisere cords/sets/merzbow-pandigustafsson-cuts/s-81cQY PRODUCT STATUS:

DELIVERY to YOU: FEBRUARY 28 TH 2013

TARGET RELEASE DATE UK: 7 TH FEBRUARY – AS ANNOUNCED ON RARENOISE SITE BUT STOCK TO BE RECEIVED END OF FEBRUARY SO DELIVERY AS AND WHEN …) , NEWSPAPERS HAVE END OF FEBRUARY PRESS CAMPAIGN:

STARTED UK, ITALY

BLURB (FOR YOUR QUOTES): If jazz, as the eminent critic Whitney Balliet once wrote, is the “sound of surprise,” Cuts, an intensely cathartic, fiercely turbulent collaboration between Japanese noise purveyor Masami Akita (aka Merzbow), Hungarian drummer Balazs Pandi and Swedish saxophonist Mats Gustasfsson, is the “sound of shock and awe.” A sonic assault of epic proportions, it blends the bombast of Merzbow’s grinding white noise barrages with Pandi’s thunderous pulse on the kit and Gustafsson’s ferocious abandon on baritone sax and clarinet mixed with live electronics, bringing to mind a marriage of Lou Reed’s Metal Machine Music and Coltrane’s Interstellar Space, with touches of Sonic Youth’s sonic mayhem thrown in for good measure.  

 


PRESS: 1. MOJO (****) – Andrew Male “A violent squall line between industrial distortion and free jazz, this studio debut from the Japanese noisemaker Masami Akita, Hungarian drummer Balazs Pandi and Swedish saxophonist Mats Gustafsson is a pounding beast of multiphonic metal attack. It might disgust the purists but lovers of extreme euphoric room rackets should sign up right now.” 2.PROG (Sid Smith) “It’s a meeting point where texture and density have primacy, and primal slabs of tone and pulse dominate. Cuts is hair-raising – faint-hearted listeners should stand well back”

 

 


ARTIST

MERZBOW / MATS GUSTAFSSON BALAZS PANDI

TITLE

CUTS

Format:

CD digipack (4 panel)

Label:

RARENOISERECORDS

CAT NO:

RNR030

File under:

NOISE / NOISE JAZZ

For Fans of:

MERZBOW, NIC ENDO, MATS GUSTAFSSON

BARCODE:

5060197760281

Cover:          

 

 

 


TRACKLIST:

 

1. evil knives. lines. 2. deep lines. cuts. 3. the fear too. invisible. 4. like razor blades in the dark. 5. like me. like you.

NOTE: the capitalization is essential (small) as is the punctuation ( “.” After each sentence fragment)

PRIVATE SOUNDCLOUD LINK :

https://soundcloud.com/rarenoisere cords/sets/merzbow-pandigustafsson-cuts/s-81cQY PRODUCT STATUS:

DELIVERY to YOU: FEBRUARY 10 TH 2013

TARGET RELEASE DATE UK: 7 TH FEBRUARY (RARENOISE SITE ANNOUNCED) , NEWSPAPERS HAVE END OF FEBRUARY PRESS CAMPAIGN:

STARTED UK, ITALY

BLURB (FOR YOUR QUOTES): If jazz, as the eminent critic Whitney Balliet once wrote, is the “sound of surprise,” Cuts, an intensely cathartic, fiercely turbulent collaboration between Japanese noise purveyor Masami Akita (aka Merzbow), Hungarian drummer Balazs Pandi and Swedish saxophonist Mats Gustasfsson, is the “sound of shock and awe.” A sonic assault of epic proportions, it blends the bombast of Merzbow’s grinding white noise barrages with Pandi’s thunderous pulse on the kit and Gustafsson’s ferocious abandon on baritone sax and clarinet mixed with live electronics, bringing to mind a marriage of Lou Reed’s Metal Machine Music and Coltrane’s Interstellar Space, with touches of Sonic Youth’s sonic mayhem thrown in for good measure.

 

 


PRESS: 1. MOJO (****) – Andrew Male “A violent squall line between industrial distortion and free jazz, this studio debut from the Japanese noisemaker Masami Akita, Hungarian drummer Balazs Pandi and Swedish saxophonist Mats Gustafsson is a pounding beast of multiphonic metal attack. It might disgust the purists but lovers of extreme euphoric room rackets should sign up right now.” 2.PROG (Sid Smith) “It’s a meeting point where texture and density have primacy, and primal slabs of tone and pulse dominate. Cuts is hair-raising – faint-hearted listeners should stand well back”

 

 


ARTIST

NAKED TRUTH

Musicians:

Graham Haynes – trumpet / cornet Lorenzo Feliciati – electric bass Roy Powell – Hammond B3, Fender Rhodes, Prepared Grand Piano Pat Mastelotto – Acoustic and electronic drums and percussion

TITLE

OUROBOROS

Format: Label:

CD digipack (4 panel) RARENOISERECORDS

CAT NO:

RNR029

File under:

PROGRESSIVE JAZZ / JAZZ-ROCK / COSMIC ROCK / AMBIENT JAZZ-ROCK

For Fans of:

MILES DAVIS (69-75 period) RETURN TO FOREVER JOHN MCLAUGHLIN’S DEVOTION TONY WILLIAMS’ LIFETIME

BARCODE:

5060197760274

Cover:  

 


TRACKLIST:

 

1. DUST 2. DANCING WITH THE DEMONS OF REALITY 3. GARDEN GHOSTS 4. ORANGE 5. RIGHT OF NIGHTLY PASSAGE 6. YANG MING HAS PASSED 7. IN A DEAD END WITH JOE 8. NEITHER I

PRIVATE SOUNDCLOUD LINK : http://snd.sc/PLVrpN PRODUCT STATUS:

DELIVERY THIRD WEEK OF SEPTEMBER 2012

TARGET RELEASE DATE UK:

2 ND /3 RD WEEK OF OCTOBER SEPTEMBER 2012

PRESS CAMPAIGN:

STARTS EARLY OCTOBER 2012 IN UK, USA, ITALY/EU

BLURB (FOR YOU TO QUOTE): Take the formidable, pulsating polyrhythms of King Crimson and Stickmen drummer Pat Mastelotto, add the throbbing fuzz-inflected lines of audaciously creative electric bassist Lorenzo Feliciati and the jazz-informed textures of a world-class Fender Rhodes, Hammond B-3 organ, piano and synthesizer player Roy Powell, blend in avant-jazz, post-Miles cornetist Graham Haynes and you have the makings of one of the most unique and powerfully provocative instrumental groups on the  

 


international scene today. On Ouroboros , its second RareNoise release, the members of Naked Truth boldly push the envelope well beyond where most groups dare to go. As resident keyboardist Roy Powell puts it, “Naked Truth is a cross between jazz, prog-rock and ambient music and fits in with other RareNoise projects precisely because it is omni-genre.” NOTES:

1. NAKED TRUTH WILL PLAY US DATES (EAST COAST) IN LATE SEPTEMBER/EARLY OCTOBER. 2. NAKED TRUTH’S OUROBOROS WAS RECORDED IN BILL LASWELL’S STUDIO IN ORANGE, NEW JERSEY 3. NAKED TRUTH’S OUROBOROS WAS MIXED BY BILL LASWELL 4. GRAHAM HAYNES, SON OF LEGEND ROY HAYNES, JOINS NAKED TRUTH (REPLACING CUONG VU, WHO PLAYED ON THE BAND’S PREVIOUS “SHIZARU”(RareNoiseRecords RNR019)

BLURBS/PRESS:

Quotes relating to the previous release (SHIZARU): “A very Bill Laswell approach, … a series of grooves, riffs and atmospherics constantly re-layered and re-contextualised against each other…there are echoes of industrial-strength King Crimson with Mastelotto on board, but all kinds of soundscapes seethe and filter through, most obviously in resonances of In A Silent Way and Bitches Brew …. dazzles and startles.” (JAZZWISE)  

 


“Sonically provocative project which pulls threads from the dense fabric of Miles’ Bitches Brew period … everybody solos and nobody solos … a masterstroke” (JOHN NEWEY/JAZZWISE) “Whoever came up with the fan- and serious musician-friendly melodic line(s) strengthening throughout these rocking, haunting grooves, is an off his rocker prophet…” (TheExaminer.com) “Tight knots of punchy arrangements add a smart focus, prevents some oblique jam-like numbers from drifting off into a woozy altered states. Cavernous rumbles and diaphanous, misty soundscapes are interrupted by unexpectedly powerful bursts of ascending stings, often woven with yearning, lyrical themes.” (Sid Smith, King Crimson biographer, PostCards from the Yellow room). “This album stands a chance of blowing up really big in the world of jazzy psychedelic rock/groove music” (JazzMusicArchives.com) “When I find music this engaging, that gets in my face and challenges me to try to weed my way through it, mundane topics like genre classification get shuffled to the bottom of the stack.” (BirdIsTheWorm.com for AllAboutJazz.com) “The most contemporary of true fusion ensembles I may have ever heard.” (CriticalJazz.com) “Ominous beats prowl the deep like sharks, as Powell's acoustic piano gambols over synthesized clouds with twinkling runs … from atmospheric, pushed-air sequences to clarion, unamplified trumpet melodies...Nice Stuff" (Seattle Times)

 

 


ARTIST

ANIMATION

Musicians:

Bob Belden – sax / flute Peter Clagett – trumpet/electrified trumpet Jacob Smith – electric bass Roberto Verastegui – keyboards Matt Young – drums

TITLE

TRANSPARENT HEART

Format: Label:

CD digipack (4 panel) RARENOISERECORDS

CAT NO:

RNR028

File under:

PROGRESSIVE JAZZ / ELECTRIC JAZZ

For Fans of:

MILES DAVIS (69-75 period) RETURN TO FOREVER BOB BELDEN

BARCODE:

5060197760267

Cover:

 

 


TRACKLIST:

 

1. TERRA INCOGNITO 2. URBANOIA 3. CRY IN THE WIND 4. TRANSPARENT HEART 5. SEVEN TOWERS 6. PROVOCATISM 7. VANISHMENT 8. OCCUPY!

PRIVATE SOUNDCLOUD LINK : http://snd.sc/LGEiMM PRODUCT STATUS:

DELIVERY FIRST WEEK OF SEPTEMBER 2012

TARGET RELEASE DATE UK:

25 SEPTEMBER 2012

PRESS CAMPAIGN:

STARTS EARLY SEPTEMER 2012 IN UK, USA, ITALY/EU

BLURB (FOR YOUR QUOTES): Following on the heels of Animation’s 2010 RareNoiseRecords debut, Asiento, and 2011’s Agemo, saxophonist-composer-bandleader Bob Belden tells his own story on Transparent Heart. With his new Animation lineup consisting of young musicians hired from his alma mater, the University of North Texas (23-year-old keyboardist Roberto Verastegui, 24-year-old bassist Jacob Smith, 29-year-old trumpeter Pete Clagett and 20-year-old drummer Matt Young), Belden unveils a dark narrative as heard through the musical diary he has composed over 29 years of living in Manhattan. An imposing electronic noir masterwork, Transparent Heart travels from Belden’s initial awestruck impressions of New York City (“Terra Incognito”) to his feelings of foreboding (“Urbanoia”) and hope (“Cry in the Wind”) as a city dweller on Manhattan’s Upper West Side, to the pervasive angst of post9/11 Manhattan (“Seven Towers,” “Provocatism”). He also addresses the mass exodus of artists from the city (“Vanishment”) and concludes his  

 


musical memoir with the clash of the social classes manifested in the Occupy Wall Street movement (“Occupy!”). Belden has concocted a powerful, provocative suite of music that is charged by the intensely driving, highly intuitive playing of his young energetic Animation band mates. “This record is not a jazz record, it’s about my life in Manhattan,” says the Grammy® Award-winning composer-arranger-producer. “In essence, the music on Transparent Heart is a reflection of the lingering tension since 9/11. It’s an honest look at Manhattan through music.”

NOTES:

1. ANIMATION WILL PLAY UK DATES (LONDON) IN LATE SEPTEMBER/EARLY OCTOBER. PLAYED VORTEX AND TABERNACLE IN JULY 2012 2. JAZZWISE MAGAZINE WILL RUN EXTENSIVE FEATURE ON BOB BELDEN’S ANIMATION IN AUGUST EDITION 3. THIS IS THE FIRST STUDIO RECORDING BY ANIMATION SINCE GRAMMY NOMINATED “ANIMATION:IMAGINATION” IN 2000 4. BOB BELDEN IS A 4 TIMES GRAMMY AWARD WINNER!

FURTHER BLURBS/PRESS: 1. About the live AMBISONIC SURROUND performance BY ANIMATION at the Tabernacle in London (JAZZWISE MAGAZINE) http://jazzwisemagazine.com/video-mainmenu-137/12416-jazz-breakingnews-bob-beldens-animation-dive-into-the-dark-side-of-manhattan-

“Saxophonist, composer and producer Bob Belden – who has worked extensively on the Miles Davis and Blue Note reissues series – landed in London last night for the first of two gigs showcasing tunes from his powerful new album Transparent Heart on Rare Noise Records, debuting not just new music but a  

 


cutting edge surround sound speaker system and eye-popping visuals “Coupled to Ambisonic’s pioneering live surround sound set up that was manipulated live by its creator Serafino DiRosario, and with dazzling visuals by Brandy Alexander of the bustle and blur of New York city streets, the gig was also a bespoke listening experience. With listeners increasingly discerning tastes in high quality audio on both vinyl, CD and downloads reaching a new peak, it was perhaps a taste of things to come in the live jazz arena as the sound of Belden’s sax, keyboards or spoken word samples were pinged around the eight specially positioned speakers that surrounded the audience. For all the disturbing, dystopian sounds and messages the immersive audiovisuals only served to heighten the intense feelings at the heart of Belden’s visionary urban jazz aesthetic.”

2.Journalist’s Stephen Graham Blog about the same event http://marlbank.tumblr.com/post/26484845535/06754

“With projected images that showed solarised marching bands and almost robotic city figures ‘fried’ in the psychedelic graphic effects, as well as Antony Gormley-like lonely figures on high rise buildings, the performance was also in a way a homage and wake-up call to Manhattan, “an island off the coast of America”, as Belden told the audience.” 3. JAZZWISE REVIEW BY STUART NICHOLSON (AUGUST EDITION OUT IN SEPTEMBER) - 4 STARS

“Bob Belden’s latest album might be considered programmatic or impressionistic, it might be said to employ music concrète techniques, or it might be just plain post-Miles music. Somehow definitions don’t seem to matter. Belden thinks impressionistic is a more accurate summation of the music he presents here: eight tracks that together represent a musical portrait of New York (and Manhattan Island in particular), each one infused with its own improvisational drama. Although his excellent Grammy-winning Black Dahlia (Blue  

 


Note) from 2001 was with a 65-piece orchestra, there are connections to be made here with his writing for quintet that do not strain metaphor. For a start, Belden is a masterful writer of ballad pieces, and the slower tracks here (my review CDR is so hot off the press I don’t have a track listing) seem like a logical continuum of his writing for the earlier album. Certainly, like certain tracks on Black Dahlia, they could equally well function as soundtracks for a film and seem like a contemporary update of his writing for larger ensemble. Equally, just as Black Dahlia seemed an impressionistic portrait of Los Angeles in the 1940s, with its noir-ish writing that seemed of a piece with Jerry Goldsmith’s writing for the Roman Polanski fi lm Chinatown, then Transparent Heart emerges in contemporary continuum with its portrayal of the city that never sleeps, with the faster tracks capturing the Big Apple’s energy and changing moods.” 3. Bert Noglik (artistic director of the Berliner JazzFest) commenting about “Transparent Heart”: “It’s a Masterpiece” 4. Sid Smith (King Crimson biographer) commenting about “Transparent Heart” “ “I LOVE IT”

 

 


ARTIST:

MOLE

Musicians:

Mark Aanderud – piano Hernan Hecht – drums David Gilmore – guitar Jorge Luri Molina - Bass

TITLE

WHAT’S THE MEANING?

Format: Label:

CD digipack (4 panel) RARENOISERECORDS

CAT NO:

RNR027

File under:

MODERN JAZZ QUARTET WITH GUITAR AND PIANO

For Fans of:

EST, PHRONESIS, AVISHAI COHEN, DAVID GILMORE BOBO STENSON, RAINER BRUENINGHAUS

BARCODE:

5060197760250

Cover:

TRACKLING:

1. PB 2. Stones 3. Trees And The Old New Ones 4 Flour Tortilla Variation 5. What’s The Meaning? 6. Greenland 7. Grass 8 Grubenid

 

 


PRODUCT STATUS:

DELIVERY FIRST/SECOND WEEK OF APRIL

TARGET RELEASE DATE UK:

MID/END OF MAY 2012

PRESS CAMPAIGN:

FROM APRIL ITALY/UK/USA

BLURBS/PRESS: What’s The Meaning? Is the first release of the Mexican / Argentinean / American quartet that has been touring Europe and South America extensively over the last two years. Mole picks up the thread left by EST and aspires to join Phronesis in the pantheon of contemporary piano (and in Mole’s case guitar) – driven jazz formations. At the center of Mole are the incredibly swinging, timeless compositions of pianist Mark Aanderud (whose endless list of collaborations includes playing the piano on The Mars Volta’s Opus Octahaedron) driven forward by the relentless jazz, rock and drum’n bass beat of Argentinean master drummer Hernan Hecht (producer of Ely Guerra’s last album “El Hombre Invisible” and drummer on Brainkiller’s RareNoiseRecords’ release “The Infiltration”), duetting here with no-less than Wayne Shorter’s guitarist David Gilmore, whose guitar work has the fluency of mid period Mahavishnu John McLaughlin and Al DiMeola at once and accompanied by the elegant firm hands of Mexican upright bass player Jorge Luri Molina.

 

 


Artist/Project:

INTERSTATIC

Musicians:

Roy Powell – Hammond B3 Jacob Young – Guitar Jarle Vespestad - Drums

TITLE:

INTERSTATIC

Format: Label:

CD digipack (4 panel) RARENOISERECORDS

CAT NO:

RNR026

File under: For Fans of:

JAZZ-ROCK Organ Trio Mahavishnu Orchestra, John McLaughlin’s DEVOTION Larry Young, Jacob Young, Jarle Vespestad, Naked Truth, Supersilent, John McLaughlin & Carlos Santana (Love/Devotion/Surrender)

BARCODE:

5060197760243

Cover:

TRACKLISTING:

1. Stills 2. First Vision 3. Flatland 1 4. Washed Up 5. Reel Time 6. InterStatic

 

 


7. Water Music 8. The Elverum Incident. 9. Americana 10. Flatland 2

 

PRODUCT STATUS:

DELIVERY FIRST/SECOND WEEK OF APRIL

TARGET RELEASE DATE UK:

MID/END OF MAY 2012

PRESS CAMPAIGN:

FROM APRIL ITALY/UK/USA

NOTES:

INTERSTATIC WILL TOUR NORWAY IN MAY 2012; WILL PLAY GENOA JAZZ FESTIVAL JULY 2012

BLURBS/PRESS: InterStatic (as Powell, Young and Vespestad are now known) is the second recorded chapter in their musical history – keeps the musical balance of Anthem, put pushes the musical envelope towards the territory of organ – led psychedelic rock, in the same vein as John McLaughlin’s Devotion, but with a taughter, more defined edge and a Nordic sensibility that comes with the territory (the Norway so prominent in the many ECM recordings of Young and Vespestad). Jazz-Rock Psychedelia for the 21st century. Selected Press Coverage (for their previous release, Anthem) ‘”The overall approach is loose and unfettered (but tempered by a collective focus and control), and the harmonies generally darker and more ambiguous, but if there's a single claim that Anthem lays to waste it's the fallacy that Norwegians can't swing. Vespestad may play more the colorist with Gustavsen, and he may have thundered heavily with Supersilent before leaving the improv collective he helped cofound in 1997, but he swings mightily on Powell's "Elegy," which also features an uncharacteristically  

 


effects-laden Young.” (AllAboutJazz)

 

 

 


ARTIST

DAVID (“FUZE”) FIUCZYNSKI

Musicians:

David Fiuczynski – fretted and fretless guitars David DJ Ginyard– fretless bass Evan Marien – fretless bass Evgeny Lebedev – piano/microtonal keyboards David Radley – violin Takeru Yamazaki – microtonal keyboards Jovol Bell – drums

Kenwood Dennard – drums Jack DeJohnette – drums

TITLE

David Fiuczynksi’s PLANET MICROJAM

Format: Label:

CD digipack (4 panel) RARENOISERECORDS

CAT NO:

RNR025

File under:

JAZZ BLUES GROOVE WITH EASTERN MICROTONAL HARMONIES

For Fans of:

SCREAMING HEADLESS TORSOS KIF EXPRESS FIUCZYNSKI JACK DEJOHNETTE KENWOOD DENNARD MICROTONAL MUSIC OF JULIAN CARRILLO, ALOIS HABA

BARCODE:

5060197760236

Cover:

(IN PROGRESS – not definitive)  

 


TRACKLIST:

 

1. MICRO EMPEROR (based on a fragment from Ludwig V. Beethoven’s Fifth Piano Concerto “The Emperor’) 2. MYSTIC MICROJAM 3. MEDITACION (based on a QuarterTone String Quartet by Julian Carrlllo) 4. SUN SONG (based on Sun Song by Sun Ra) 5. HOROS FUZIVIKOS 6. DRUNKEN LONGING (based on the chinese traditional songs “Longing for the mortal world” and “The Drunkard”) 7. MADOKA BLUE 8. EN SECRETO (based on QuarterTone String Quartet by Julian Carrillo) 9. GREEN LAMENT 10. APPREHENSION 11. RAGAKU

PRODUCT STATUS:

DELIVERY FIRST/SECOND WEEK OF APRIL

TARGET RELEASE DATE UK:

MID/LATE MAY 2012

PRESS CAMPAIGN:

STARTS EARLY MAY IN ITALY, UK, USA

NOTES:

PLANET MICROJAM WILL TOUR EUROPE EARLY MAY + PLAY LIVE GIG AT GENOA JAZZ FESTIVAL 2012 (JULY)

BLURBS/PRESS: 1. About PLANET MICROJAM (from Berklee’s FusionMagazine)  

 


At the crossroads of African American rhythms, microtonal harmonies, and eastern melodic inflections and improv concepts - in other words all the elements that the Greater Boston area has to offer with Berklee as its base – new musical ideas are on the horizon. Drawing on unique elements of western classical microtonality and ethnic folk melodies organized in a jazz/groove context, unheard of harmonies and counterpoint are possible. What sets this microJam apart from other microtonal music is its method of organization. Unlike the microtonal chromaticism of Julian Carrillo, the athematicism of Alois Haba and the postScriabin style of Ivan Wyschnagradsky (all venerable microtonal pioneers in western classical music), this MicroJam is not so much MICROtonal as microTONAL. The emphasis is on microtonal harmony that has a jazz-based modal origin. New harmonic colors can be expressed vertically through the stacking of, for example, an Arabic maqam (a type of Arabic mode) into chords based on 3rds or 4ths over a tonal center – in other words, harmony derived from a microtonal chord scale. This is not done in eastern music traditions or modern classical music. Music from the Middle East and Asia rarely has chordal harmony and in the modern western classical tradition, either tonal centers are avoided or harmony is produced from counterpoint. In our ever-shrinking global village could Global MicroJam be a shape of Jamz to come?”

Planet MicroJam features several tracks with guests and drum legends Jack DeJohnette and Kenwood Dennard. 2. (Extracts from the AllAboutJazz review of Kif Express – the spiritual predecessor to Planet MicroJam) : “David "Fuze" Fiuczynski continues to obliterate the boundaries of modernday electric guitar styles, pushing himself further forward into the "world" sounds, techniques, scales, and rhythms that now constitute his calling-card. Funk can be 4/4 or 11/8, tone distortedor bone dry, chords root-fifth crunchers or undeniably undecipherable.” “He can make a fretted guitar sound fretless, but he's also the world's foremost fretlessguitarist, rendering him one of the world's premier slide guitarists— but he plays "slide" with his fingertips. All the notes, even the ones in between the twelve those other guitaristsusually play, are at his disposal.”  

 


“He seamlessly switches to Hendrixian rhythm-guitar psychedelics, another guitaristicsubcategory for which he's a gold-medal contender. Feathering wah-wah into his singlenote lines underscores the similarities between psychedelic and panethnic techniquesbefore he strips his tone dry for a microtonal Asian jaunt over a Celtic drum groove. Before another more "conventional" fretless solo, Fuze offers a one minute clinic in the slip andslide chord voicings between the fretmarks, a further subcategory in which he seems the sole entrant. This tune supports Fuze's theory that the groove can lead the ear throughuncharted micro-topography.” “Fuze has also absorbed the legato linearity of Allan Holdsworth, and when he translates itonto the fretless plank of his doubleneck the results go beyond virtuosic into terrifyinglymind numbing territory. It shows not only that no other guitarist can do all the things he does, it provides glaring,dazzling proof that they're not even attempting.”

 

 


ARTIST:

METALLIC TASTE OF BLOOD

Musicians:

JAMIE SAFT – PIANO/KEYBOARDS ERALDO BERNOCCHI – GUITARS COLIN EDWIN – BASS BALAZS PANDI - DRUMS

TITLE:

METALLIC TASTE OF BLOOD

Format: Label:

CD digipack (4 panel) RARENOISERECORDS

CAT NO:

RNR024

File under:

METAL, AVANT-JAZZ, PROGRESSIVE ROCK, INSTRUMENTAL ROCK

For Fans of:

JAMIE SAFT PORCUPINE TREE STEVEN WILSON JOHN ZORN’S NAKED CITY ERALDO BERNOCCHI’S OBAKE

BARCODE

5060197760229

Cover:

TRACKLISTING:

1. SECTILE 2 SCHIZOPOLIS 3. GLASS CHEWER 4. BIPOLAR 5. MALADAPTIVE

 

 


6. KING COCKROACH 7. CRYSTALS AND WOUNDS 8. FIST FULL OF FLIES 9. TWITCH 10. TRANSVERSE

 

PRODUCT STATUS:

DELIVERY 20-27 MARCH 2012

TARGET RELEASE DATE UK:

MID/END OF MAY 2012

PRESS CAMPAIGN:

FROM APRIL ITALY/UK/USA

BLURBS/PRESS: Metallic Taste Of Blood is an instrumental album brought about by the collective nous of Eraldo Bernocchi (Winter Garden w. Budd and Guthrie, Obake with Pupilllo, Pandi and Fornasari) on guitars, pianist Jamie Saft (of New Zion Trio, Zorn’s electric Masada, Cuong Vu, Marc Ribot and others), bass-player Colin Edwin (of Porcupine Tree and Ex-Wise heads) and Balazs Pandi (of Venetian Snares, Bong Ra, Obake, Merzbow and Otto Von Schirach). Manifestly undefinable, MTOB collects very diverse strands and genres of music (from metal, dub, avant-jazz and progressive rock primarily) and fuses them into instrumental compositions that tightly straddle what on paper are opposites (thus truly representing RareNoiseRecords’ ethos). Loud and gentle, distorted and clean, boiling and cold, sweet and salty, as per its own name. Yet perfect balance is reached, when distorted guitars sound clean and soothing, while cascades of piano notes suddenly morph into threatening shards. An ever surprising recording, laying the foundation to entire new genres.

 

 


ARTIST:

LORENZO FELICIATI

Musicians:

Bob Mintzer, Lucrezio De Seta, Roy Powell, Paulo La Rosa, Aidan Zammit, Pat Mastelotto, Phil Brown, Roberto Gualdi Stefano Bagnoli, Maxx Furian, Cuong Vu, DJ Skizo. Pier Paolo Ferroni, Patrick Djivas, Andrea DiCesare, Daniele Gottardo, Jose Fiorillo, Daniele Pomo, Guido Block

TITLE:

FREQUENT FLYER

Format: Label:

CD digipack (4 panel) RARENOISERECORDS

CAT NO:

RNR023

File under: For Fans of:

Jazz-Rock/Fusion/Progressive Rock 80’s King Crimson, Jonas Hellborg, Tony Levin, Jaco Pastorius

BARCODE:

5060197760212

Cover:

TRACKLISTING:

1. The Fastwing Park Rules 2. Groove First 3. 93 4. Riding The Orient Express 5. Footprints 6. Never Forget 7. Gabus And Ganabes 8. Perceptions 9. The White Shadow Story 10. Law And Order 11. Thela Hun Ginjeet

 

 


PRODUCT STATUS:

READY FOR DELIVERY (END OF WEEK)

TARGET RELEASE DATE UK:

27 MARCH 2012

PRESS CAMPAIGN:

ALREADY STARTED IN ITALY, UK, USA

BLURBS/PRESS: Lorenzo Feliciati is rapidly gaining recognition as one of Europe’s most dependably creative bassists. “I find that Feliciati's style on the bass reminds me more of players like Victor Bailey, Percy Jones, Jaco, Gary Willis and perhaps Jeff Berlin,” writes MJ Brady in Proggnosis.com. “Progressive rock, fusion, world fusion are heard on a CD from perhaps Italy's best kept secret on the bass guitar.” A prolific studio musician who’s played on hundreds of pop and rock projects, he’s released a series of stimulating albums featuring his original compositions, such as 2008’s trio session Wasabi (Picanto) with pianist Alessandro Gwis and drummer Emanuele Smimmo and 2010’s Closer (ViaVeneto Jazz) with guest Cuong Vu. He’s probably best known as the leader of Naked Truth. Featuring Vu (recently replaced by Graham Haynes), Roy Powell on piano and Hammond B3 and drummer Pat Mastelotto, the band’s debut album Shizaru (Rarenoise) earned glowing reviews. Rarenoise is slated to release Feliciati’s third CD under his own name, Frequent Flyer, this winter, with an impressive roster of guests, including Vu, Powell, Mastelotto and Bob Mintzer.

 

 


Artist/Project:

THE MANTRA ABOVE THE SPOTLESS MELT MOON

Musicians:

Adriana Salomone – Voice, Guitar, Davide Famularo – Electric Bass, Keyboards, Maurizio Oliviero – Guitars, Salvio Sibillo – Drums and Percussion

Title:

GHOST DANCE CD digipack (4 Panel)

Format: Label: Catalogue: File under: For Fans of:

RARENOISERECORDS

RNR022 Rock, Alternative, Progressive Rock Radiohead, Mogwai, Adele, Grace Slick

5

Barcode: Numerical:

060197 760199

>

5060197760199

Cover: Tracklisting

  1, ATSMM 2. Heads Or Tails 3. Death Baby Chicco 4. The Wolf 5. Trieste 6. Blue Army 7 Harlequin 8. Constellations 9. Slow Motion 10. Fast Forward 11. Manao Tupapao

 


Artist/Project: Musicians:

Eraldo Bernocchi, Harold Budd, Robin Guthrie Idem

Title: Format: Label: Catalogue: File under: For Fans of:

WINTER GARDEN CD DIGIPACK (4 panel) RARENOISERECORDS RNR021 Ambient Harold Budd, Robin Guthrie, Brian Eno, David Sylvian

Barcode: Numerical:

5060197760205

Cover: Tracklisting

1. Don't Go Where I Can't Find You 2. Losing My Breath 3. Winter Garden 4. Entangled 5. Harmony And The Play Of Light 6. Heavy Heart Some More 7. White Ceramic 8. Stay With Me 9. South Of Heaven 10. Dream On  

 


Artist/Project:

OBAKE

Musicians:

Massimo Pupillo – Bass, Eraldo Bernocchi – Guitars, Lorenzo Esposito Fornasari – voice, electronics, Balazs Pandi - drums

Title:

OBAKE

Format: Label: Catalogue: File under: For Fans of:

Barcode: Numerical:

CD digipack (4 Panel) RARENOISERECORDS

RNR020 Metal Drone, Progressive Doom, Electronica, Dark Ambient, Math Rock

Zu, Sunn(((0))), Death Cube K

5

060197 760175

5060197760175

Cover: Tracklisting

1. Human Genome Project 2. Dog Star Ritual 3. The End Of It All 4. Szechenyi 5. Letters To Ghosts 6. Ponerology 7. The Omega Point 8. Destruction Of The Tower 9. Endocrine Pineal Gland 10. Grandmother Spider  

 


Artist/Project:

NAKED TRUTH

Musicians:

Cuong Vu – Electrified Trumpet, Lorenzo Feliciati – Electric Bass, Electric Guitar, Roy Powell – Piano, Fender Rhodes, Pat Mastelotto – Acoustic and Electronic Drums and Percussion

Title:

SHIZARU

Format: Label: Catalogue: File under: For Fans of:

CD digipack (4 Panel) RARENOISERECORDS

RNR019 Electric Jazz, Power Ambient, Metal, Progressive Rock Miles Davis, King Crimson, Stickmen, Weather Report

5

Barcode: Numerical:

060197 760168

5060197760168

Cover: Tracklisting

  1. Faster Than An Automatic Door 2. 66 3. Shizaru 4. Ossimoro 5. Shining Skin Syndrome 6. Touching Corners 7. The Naked 8. Ahkton

 


ARTIST

ANIMATION

Musicians:

DISC 1 : Bob Belden – Sax, Tim Hagans - trumpet, Scott Kinsey – keyboards, DJ Logic – turntables, Matt Garrison – bass, Guy Licata – drums DISC 2: Bill Laswell, DJ Logic, Youth, Gaudi, Fanu, Joe Claussell

TITLE

AGEMO

Format: Label:

DOUBLE CD SOFTPACK (4 panel) RARENOISERECORDS

CAT NO.

RNR018

File under: For Fans of:

Jazz-drum’n bass, fusion, Miles Davis, Remix, Dub Miles Davis, Animation, Tim Hagans, Tribal Tech, John McLaughlin, Return To Forever, Weather Report, Drum’n Bass, Gaudi, Bill Laswell, Youth, Fanu Joe Claussell, DJ Logic

BARCODE

5060197760182

Cover:

TRACKLISTING

DISC 1   1. Pharaoh’s Dance (3D60 Headphone Mix) 2. Bitches Brew (3D60 Headphone Mix) 3. John McLaughlin (3D60 Headphone Mix) 4. Miles Runs The Voodoo Down (3D60 Headphone Mix) 5. Spanish Key (3D60 Headphone Mix) 6. Sanctuary (3D60 Headphone Mix)

 


DISC 2

 

1. Pharaoh's Dance (Bill Laswell Son Of Panthalassa Remix) 2. Bitches Brew Dub (DJ Logic & Grant Phabao Remix) 3. John McLaughlin (Youth Middle Class Riot Remix) 4. Miles Runs The Voodoo Down (Gaudi Remix) 5. Spanish Key (Fanu Lightless Remix) 6. Sanctuary (Joe Claussell Hidden Revealed Version)

PRODUCT STATUS

IMMEDIATE DELIVERY

TARGET RELEASE DATE

RELEASED UK 28 NOV 2011 RELEASED ITALY 28 NOV 2011 RELEASED US MARCH 27 TH 2012

PRESS CAMPAIGN:

IN ACTION IN ITALY, UK

 


Artist/Project: Musicians:

ANIMATION Bob Belden – Sax, Tim Hagans - trumpet, Scott Kinsey – keyboards, DJ Logic – turntables, Matt Garrison – bass, Guy Licata – drums ASIENTO CD+DVD digipack (6 panel) RARENOISERECORDS RNR017 Jazz-drum’n bass, fusion, Miles Davis Miles Davis, Animation, Tim Hagans, Tribal Tech, John McLaughlin, Return To Forever, Weather Report, Drum’n Bass.

Title: Format: Label: Catalogue: File under: For Fans of:

Barcode: Numerical:

Cover: Tracklisting

5060197760137

  1. Pharaoh’s Dance 2. Bitches Brew 3. John McLaughlin 4. Miles Runs The Voodoo Down 5. Spanish Key 6. Sanctuary

 


OWLS

Artist/Project: Musicians:

Tony Wakeford – Guitars/Voice, Eraldo Bernocchi – guitars, electronics, Lorenzo Esposito Fornasari – voice, electronics

Title:

THE NIGHT STAYS (LP)

Format: Label: Catalogue: File under: For Fans of:

DOUBLE VINYL RARENOISERECORDS RNR016LP English Neo-folk, industrial electronics, Trip Hop Sol Invictus, Eraldo Bernocchi

5 060197 760151

Barcode: Numerical:

Cover: Tracklisting

5060197760151

  A/B SIDES A1. Hide And Seek A2. The Night Stays A3. God Is Right B4. Come Back B5. Idiot’s Waltz B6. The New Parade C/D SIDES C7. I Am C8. We Took This Land C9. Strange Kind of Beauty C10. Can You Hear Them D11. Family D12. Lullaby D13. All Gone

 


Artist/Project: Musicians: Title: Format: Label: Catalogue: File under: For Fans of:

OWLS Tony Wakeford – Guitars/Voice, Eraldo Bernocchi – guitars, electronics, Lorenzo Esposito Fornasari – voice, electronics THE NIGHT STAYS CD digipack (4 Panel) RARENOISERECORDS RNR016 English Neo-folk, industrial electronics Sol Invictus, Eraldo Bernocchi

Barcode: Numerical:

5060197760144

Cover: Tracklisting

  1. Hide And Seek 2. The Night Stays 3. God Is Right 4. Come Back 5. Idiot’s Waltz 6. The New Parade 7. I Am 8. We Took This Land 9. Strange Kind of Beauty 10. All Gone

 


Artist/Project: Musicians: Title: Format: Label: Catalogue: File under: For Fans of:

MARTIN SCHULTE Martin Schulte SILENT STARS CD digipack (4 panel) RARENOISERECORDS RNR011 Dub Techno, Minimal Techno Clicks’n’cuts, Chain Reaction, Basic Channel, Moritz Von Oswald, Mark Ernestus, Monolake

Barcode: Numerical:

5060197760106

Cover: Tracklisting    

   

1. 911 2. Galaxy 3. Monday 4. In My Memory 5.Evening 6.The Fog 7. Space 8. Observatory 9. Angels 10. The Butterfly  

 


Artist/Project: Musicians: Title: Format: Label: Catalogue: File under: For Fans of:

Barcode: Numerical:

BRAINKILLER Brian Allen – Trombone, Jacob Koller – electric keyboards, piano, Hernan Hecht - drums THE INFILTRATION CD digipack (4 panel) RARENOISERECORDS RNR010 Jazz/Free Jazz/Instrumental Progressive Rock/psychedelic rock Miles Davis, Anthony Braxton, Area (Demetrio Stratos), Ornette Coleman, Ioannis Xenakis

506019776090

Cover: Tracklisting 1. U Can’t Stop Z Train 2. Casketch 3. Spider 4. Gilberto’s Fantastic Safari 5. Ice Fishing 6. Pianer 7. Eepy 8. MsKetch 9. Vindicator 10. Unfiltered 11. Last Mask

Selected Press/Blog Coverage, including live reviews : Pitchfork: "Fearless playing and kinetic energy...concepts like inspiration and creativity bleed through scenes and genres. These guys are for real." Phoenix New Times “Hypnotic landscapes that gallivant through freewheeling jazz, avant-classical and art-rock territories." Pitchfork (2) ”You'd be hard pressed to call it 'jazz' or anything else during a particular moment, but when you step back, dozens of genres become apparent. Allen’s melodies owe as much to Cobain as they do Coltrane (though may have the most spiritual connection to Monk). One of the most impressive things about Koller's tunes is that, despite all manner of diversions and mood changes, the direction never seems to change. And when they're over, I feel like I've just been told a short story.”


Title: Format: Label: Catalogue: File under: For Fans of:

  THE MANTRA ABOVE THE SPOTLESS MELT MOON (ATSMM) Adriana Salomone – voice&guitar, Davide Famularo – bass&keys, Maurizio Oliviero – guitar, Salvio Sibillo - drums DEFEATED SONGS CD digipack (4 panel) RARENOISERECORDS RNR008 Indie Rock Radiohead, Beatles, Pink Floyd

Barcode: Numerical:

5060197760076

Artist/Project: Musicians:

Cover:  

Tracklisting    

 

1.  Golden  Mermaids  2.  Septembers  3.  Mangrove  4.  Defeated  Song  5.   Blanca  6.  Clouds  7.  Mare  (Not  Land)  8.  Rooms  9.  The  Inner  Season   10.  Lines  Of  Fire  Bless  The  Mountain

Selected Press/Blog Coverage (Italian and English): Rumore (7/10): “Con Defeated Songs ci troviamo di fronte ad un prezioso manifesto dell’ottimo livello raggiunto dalle produzioni italiane….per abbeverarci definitivamente alle fonti del buon ascolto.” FuoriDalMucchio  (4/5):”  Il  rischio  di  sforare  nel'epicità  incontrollata  viene  tenuto  a  bada  un  po'   ovunque,  un  senso  della  misura  che  ci  regala,  come  abbiamo  detto,  qualche  gemma  e  una  qualità   media  decisamente  buona.”   RaiMusic:”  Rocksound UK ha definito i Mantra “i cugini cattivi degli XX”. Un complimento impegnativo, ma, viene da dire dopo l'ascolto del loro album, del tutto meritato.” RockSound (live review) (7/10): “There is a lot of potential for this Italian quartet” Classic Rock Prog “By turns dreamy, angelic, plaintive, fragile and unsettling, she [Adriana Salomone] frames their travelogues from post-rock minimalism to Morricone-style surges, with a heartfelt, poetic intensity”.

 


Artist/Project: Musicians: Title: Format: Label: Catalogue: File under: For Fans of:

PARCHED Eraldo Bernocchi – treated guitar, Davide Tiso – treated guitar ARC CD digipack (4 panel) RARENOISERECORDS RNR006 Ambient/Guitar RyCooder, Robert Fripp, Brian Eno

Barcode: Numerical:

5060197760052

Cover: Tracklisting:

1. (Mute)Ant-Hill 2. BKK 5.48AM 3. Staring Outside 4. No One In The Playground 5. A Melting Chair 6. Invisible Wires 7. The Uninvited Guest 8. Naked Warmth 9. Landscapes and Days Eternally Gone

Selected Radio Passages/podcasts: Solenoide.org La Planete Bleue

(LINK) (LINK)


Artist/Project: Musicians: Title: Format: Label: Catalogue: File under: For Fans of:

DEATH CUBE K Buckethead – guitar, Bill Laswell-bass, DJ Submerged electronica TORN FROM BLACK SPACE CD digipack (4 panel) RARENOISERECORDS RNR005 Ambient Buckethead, Sunn O))), Fantomas, Lustmord, Coil

Barcode: Numerical:

5060197760045

Cover: Tracklisting:

1. Slow Descent 2. Hollow Ground 3. Watchers 4. Path of the Dead 5. Night Crawler 6. Hidden Chamber

Selected Press Coverage: Kerrang – reviewer: Paul Travers: “It sounds like the soundtrack to an as-yet unwritten David Lynch movie and is definitely one for the 3am slot for those who like to get spooked. Weird music from a weird man.” (rated KKK) RockSound – reviewer Neil Gardner: “Torn From Black Space does a very effective job in dragging the willing listener into the sonic abyss.” (rated 7/10) Classic Rock – reviewer Tommy Udo: “Like Lustmord, Sunn O))) or Coil, this isn’t exactly a collection of relaxing ambient sounds for the chill-out room: it’s like noise heard on the edge of a coma, as you lie there paralysed watching things trailing past in slow motion. This is quite terrifying stuff.”

Selected Radio Passages/podcasts: Solenoide.org

(LINK)


Artist/Project: Musicians:

SOMMA (Sacred Order of Music Magic and Art) Eraldo Bernocchi – guitar, Bill Laswell – bass, Hamid Drake drums, Lorenzo Esposito Fornasari – voice, Raiz – voice, Nils Petter Molvaer – trumpet, 5 tibetan monks – chorals&drones.

Title: Format: Label: Catalogue: File under: For Fans of:

23 WHEELS OF DHARMA CD digipack (6 panel) RARENOISERECORDS RNR004 World Music/East/Dub/Electronica/Jazz Material, Nils Petter Molvaer,

Barcode: Numerical:

5060197760038

Cover: Tracklisting

1.Jerusalem 2.To The East 3.Sind 4.Chonyd Bardo 5.Tenzin Travel 6. Sidpa Bardo 7. Bhavacakra 8. Tibetan National Anthem


Title: Format: Label: Catalogue: File under: For Fans of:

  METHOD OF DEFIANCE Bill Laswell -bass, Bernie Worrell - keys, Toshinori Kondo - trumpet, Dr Israel – voice&effects console Guy Licata - drums NIHON CD + DVD double digipack (6 panel) RARENOISERECORDS RNR003 Dub/Electronica/Funk/Electric/Free/Jazz/Drum’nBass Bill Laswell, Dub Trio, Miles Davis (Electric Period)

Barcode: Numerical:

5060197760021

Artist/Project: Musicians:

     

Cover: Tracklisting:

(CD) 1. Woobou/Volunteer Slavery 2. Method Plan One 3. Black Rain 4. Dark Heat 5. Wootwo/Cosmic Slop 6. Method Exit Dub (DVD) 1. Evening Set in Tokyo 2. Afternoon Set in Tokyo.

Selected Blog Coverage: The Quietus (LINK1, LINK2) – “Laswell may have been born in Illinois four decades previously, but the overall effect is at times strangely reminiscent of 1990s Bristol. Channeled through that almighty echo chamber are reverberations of both Massive Attack's co-opting of dub and 70s funk and jazz, and the live drum'n'bass of Reprazent (though in contrast to both those acts, Nihon is a predominantly instrumental affair).” The Buffalo News (LINK): “Fans of Laswell’s Miles Davis pastiche “Panthalassa” will fall quickly for this genrehopping live recording (and its accompanying DVD). It’s atmospheric, evocative and, when all cylinders fire at once, transcendent music.” (3.5/4 Stars) The Insider (LINK): “The band recently played a triumphant show at the Montreux Jazz Festival in Switzerland, after which Chris Blackwell said simply, "It's Bill Laswell's time", MNN agrees.” TheNational (LINK) :  “Laswell is a musician’s musician, combining an unpretentious, can-do attitude with an aptitude for performing and producing good results whether in the field of jazz, improv, dub, drum and bass, punk, electro or hip-hop...  Most recently, his explorations have been into low-end provision and the blending of drum and bass, dub and funk as part of the Method of Defiance group who will be playing at Montreux.”

Selected Press Coverage: Echoes (formerly Black Echoes) – reviewer: John Masouri): “...To describe the line-up of Method Of Defiance as intriguing doesn’t even begin to do it justice.....The result is seventies Miles Davis meets Metalheadz – a continuous throbbing groove mixing drum’n bass, funk, dub, reggae and free jazz and that unsurprisingly defies description” (4.5/5 stars)

Selected Radio Passages/podcasts: Solenoide.org (in French) (LINK)  

 

 


Artist/Project: Musicians: Title: Format: Label: Catalogue: File under: For Fans of:

THE MANTRA ABOVE THE SPOTLESS MELT MOON (ATSMM) Adriana Salomone – voice&guitar, Davide Famularo – bass&keys, Maurizio Oliviero – guitar, Salvio Sibillo - drums ROOMS (EP) CD digipack (4 panel) RARENOISERECORDS RNR002 Indie Rock Radiohead, Beatles, Pink Floyd

Barcode: Numerical:

506019776014

Cover: Tracklisting

1. Helder Pedro Moreira 2. Rooms 3. The Fog 4. A Friend with a knife

Selected Blog Coverage (currently all in Italian): Ondalternativa (LINK): ““Rooms Ep” propone quattro assaggi di post rock psichedelico d’altri tempi.” (3.5/5 Stars) Rockambula (LINK): “...ritengo i The Mantra ATSMM una notevole scoperta, aspettiamo voraci il loro disco in uscita nei primi mesi del 2010.”(3.5/5 Stars) Lankelot (LINK) : “La capacità di assorbire le più disparate influenze musicali (i già citati Slowdive, Piano Magic e Cat Power, ma anche Tool, Radiohead, Devics e Beth Gibbons) trasformandole a proprio piacimento in qualcosa da rimodellare secondo la propria immagine, dimostra un’intelligenza e un’abilità tecnica che ci sembra possa sorreggere il salto che porterà il passaggio dalla breve durata a quella più impegnativa dell’Lp. Un Lp che, se le premesse sono queste, farà molto parlare di sé, nei mesi che verranno..”


Title: Format: Label: Catalogue: File under: For Fans of:

  MEDITRONICA Ashtech – bass&production, Polcari – keys, Eraldo Bernocchi – guitar, Dub Gabriel – effects, Raiz – voice MEDITRONICA CD digipack (4 panel) RARENOISERECORDS RNR001 Dub/Electronica/World Almamegretta, Massive Attack, Radioaxiom, Ashtech

Barcode: Numerical:

5060197760007

Artist/Project: Musicians:

     

Cover: Tracklisting:

1. Mediterranean Electronics .2 Rainbow Rain 3. Dame Paz 4. Azimuth Navigation 5. Andromeda 6. The Third Planet 7. Ki Eshmera Shabbat 8. Byblos From Above 9. Black Haik 10. Mare Nostrum

Selected Blog Coverage: NeonLite (LINK ) “Highly recommended summertime listening is this self titled album by Meditronica. Perfect chilled dub electronica with touches of Mediterranean, Balearic influence”. Ireallylovemusic (LINK ): “big fat, deep ambient electronically enhanced dub soundscapes that rattle and hum in all the right places.... all of which makes Meditronica an absolute joy to have shaking the ireallylovemusic foundations while i get on with day to day life stuff” Trancecritic (LINK):“Meditronica is a safe purchase for dub connoisseurs” NiceUp (LINK) : “Composition throughout Meditronica is smooth, lilting and subtly complex which will make you want to listen to the album again and again. This is testament to the collaborative style of all the artists on this album. Definitely an album you want in your personal music collection.” DreamCreation (LINK) – winter 2008/9 issue

Selected Press Coverage: Echoes (formerly Black Echoes) – reviewer: John Masouri): “Rather than make three-minute songs for the commercial market, Meditronica create nameless, aural environments for the senses, and that are just as capable as igniting the imagination, as well as the waistline.” (4/5 stars)

Selected Radio Passages/podcasts: Pathaan’s Musical Rickshaw on BBC Asian Network – dates: 24May, 21June, 22July 2009 On The Wire on BBC Lancashire – dates: 16th May 2009 Post-Milllenial Sounds on BBC Liverpool – dates: 15h May 2009 Solenoide.org (LINK) La Planete Bleue (LINK)

 

 


Distributor Product Sheet