Play all (3)
Important tape cut-ups of readings - available on vinyl for the first time...
"William Burroughs was in and out of London from the mid-50s through to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works. The work here is in 2 sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash.
The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves also being cut-ups of words on the page. The first section of the tape uses further processing by means of a 2nd tape recorder. Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of a hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.
The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP."
Freedom Jazz Dance
Freedom Jazz Dance
La Scie Dorée
Play all (9)
What were the clouds like when Huerco S was young? The Kansas-raised, New York-based producer’s absorbing ambient album For Those of You Who Have Never (And Also Those Who Have) goes some way to answering The Orb’s fluffy little proposition…
Brian Leeds a.k.a. Huerco S’s 2nd album, following Colonial Patterns (2013) finds him working between the cracks and fissures of what we’ve previously heard from him, drawing out nine pieces of mineral ambient textures and non-percussive rhythms marking his best work since the 20 minute Untitled track off his debut for Opal Tapes in 2012.
Defined throughout by a low lit, low-lying sense of intimacy, rather than oceanic or celestial tropes, Leeds’ appreciation of lower case nuance is in warm, crackling effect with a hazy hummus like grain and bonfire glow that recalls Wanda Group’s earlier outing as The Hers, or the sweeter touches of Bellows.
Like a well timed gary, once it really begins to sink in, the warbly electronic pitches and subtly chaotic ferric details really get to work in hypnotising and making you forget where you started, suspending disbelief for a 50 minute window of time just long enough to let your mind wander over the horizon.
Time will tell, but this is surely a future ambient classic.
Play all (7)
Mood Hut squad in beautiful, meditative effect, pooling their resources in a creamy suite of collaborations “dedicated to our freak friends across the world playing for peace in an era of fear and ignorance.”
The vibes are loose, sprawling, and laid-back on their first release of 2016, coaxing seven loved-up and lush groovers ready for hazy rug-cutting and dawning gouch-outs.
Sunny Dae kisses first with shuffling Afrobeat drums and vox under melting chromatic pads, ceding to the hypno-chug of Memories in Time and what sounds like a lost cue from Miami Vice in A Perfect Shift, plus a vivifying a zippy bit of celestial jazz-step in Meteor Connection.
Turn her over and Hymn to a Whale Talker hits a bonged-oot west coast new age feel, slipping into the luxuriant slow strokes of Bless the Weather and the smoky jazz fusion levitation Paul’s Blues.
For the lovers…
Play all (8)
Marvellous suite of pseudo-ethnographic sounds and unreal field recordings from Andrew Pekler, tallying an engrossing debut for his Groupshow band-mate Jan Jelinek’s Faitiche (trans: a combination of facts and fetish).
Taking its cues from Claude Lévi-Strauss’ Brazilian travelogue, Tristes Tropiques and sounding not dissimilar to the washed-out new age meditation tones of early James Ferraro or Dolphins Into The Future, Pekler’s dreamy suite yields eight discrete scenes that feel like aural snapshots of planets discovered in no man’s sky; fanning out from burbling tribal rhythms in Feedback TT to the immersive 10 minutes of 4th world pygmy voices and light headed, hi-register thizz in Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy via the melted Hassell-isms of Humidity Index / Khao Sok (Chopped and Screwed) and the tangled pulses of A Savage Topography, always with a playfully involving, enchanted sensibility.
Every Color Moving
Every Color Moving