Glass mastered CD housed in 4-panel, letter-pressed Somerset cotton covers with 20 x Polaroid style prints by Nieves Mingueza printed on luxury 250gsm card, hand-numbered 35mm photo slides, and patchouli scent. All packaged inside sealed matt-black darkroom negative envelopes
Funereal levels of adult contemporary melancholy for fans of Bohren Und Der Club of Gore, Svarte Greiner, Julien Neto…
“The Epiphanies sees Bill Seaman in fine fettle, driving along phosphorescent-lit roads marked by the heavy dew of mystery and slow-to-develop intrigue. Delayed secrets are now only coming to light. The setting sun is the glorious backdrop as The Epiphanies coasts along a deserted road, its dark road-trip music glinting like the lightless, metallic chrome of the car’s body. A pack of coyotes come out to play, and further down the road some lusty, post-jazz musings at a local bar hint at dark dislocations. Nothing is right – the neon sign is too bright and things are a little off-kilter. Reality slips slowly away, like water through the fingers, drained as if from the last bottle of whiskey, until it can’t be grasped at any longer.
The sick, cloying perfume of cigarette smoke hangs in the air like a tired apparition. The lingering, too-wide smile of a cute bartender with a string of strange tattoos along her back and an old episode of Tiny Toon Adventures (circa 1990) rather than the latest game from the NHL graces the television’s pulpit, adding to the subtle sense of dislocation, and the music only gets darker, its dying light duelling with the fading sunset. The headlights are a lonely splash of colour at two in the morning, and as the music enters the long hours a velvet-smooth carpet of asphalt spreads out before the listener, the unfolding ambient textures helping to shape a smooth, virgin-pure road.
Dark wet trees and swaying branches are illuminated as the car drives through an eerie, sleeping town, with nothing but a slumping, somnambulant piano strolling up and down the dark, leaf-strewn sidewalk. Distant notes seem to croon into the space, somehow filtering in through the dead radio that needed replacing months ago, luring you into its monochromatic musical world.
You are the first visitor. You are also the last. There isn’t any other traffic…”
A long-awaited collection of Jon Wozencroft’s photography, accompanied by a 33-track CD of exclusive music from Mika Vainio, Wire, CM von Hausswolff, Chris Watson, Jana Winderen, Claire M Singer, Hildur Gudnadottir, Philip Jeck, Simon Scott, ELEH, Russell Haswell, Heitor Alvelos, Johann Johannsson, Mark Van Hoen, Fennesz, Sohrab, Jim O'Rourke, BJ Nilsen, Peter Rehberg, Oren Ambarchi and more. After more than 35 years defining the intersection of sound, art and design in the modern avant-garde, Movements elegantly maintains Touch’s impeccable reputation.
“In a 24/7 world there is no greater challenge than “to be in command of one’s own time”. Is it true that the ability to download anything, at any moment, constitutes freedom? Has the ‘value’ of music, art and design been stripped bare? “I Google, therefore I am”...
Touch MOVEMENTS has been compiled over the course of 3 years. It is a response to many requests for Touch to publish a fuller account of Jon Wozencroft’s photography for the cover art of the project. The book follows the music, which was compiled step-by-step, like a jigsaw – there was not an “open call” to the artists, rather a sequential development which gives the CD a special narrative quality. And since our last Touch 30 compilation in 2012, the accuracy of the music has grown and rises to the challenge of what sound can do to transform perceptions about the immediate emotion of musical work and its more difficult, longer term evolution.
Following Touch Folio 001 in 2015, this series is a dedication to finding new ways of audiovisual publishing, somewhere between the twin peaks of a jewel-cased CD and a lavish box-set. The two elements of sound and the visual work in parallel to create the idea of an “Ear-book”, whose interdependency reveals itself over time, and allows the richest of listening and viewing experiences. The music and the photography is fully annotated, alongside a rarely-seen manifesto by the Surrealist film-maker Jan Švankmajer which celebrates the spirit of the creative act.”
Amazing collection of Disco Music released in the 80s (1980-84) on the Nigerian label Duomo Music Ltd. and reissued here for the first time.
"The late 70s, the thrust of mainstream music had changed from the indigenous highlife to a more international funky disco sound. Keyboards and drum machines were the key components of the new sound, and this shift in style saw Bunny Mack, Chris Okotie, Christy Essien and Jide Obi replace Osita Osadebe and the Oriental Brothers on the charts. It was in this effervescent climate that Duomo Sounds Ltd was established by Mr Humphrey Aniakor, a business man with no prior investment in the industry.
It was simply the in-thing for a young monied businessman at the time. The name suggested European sophistication, modernity and a little abstraction. D U O M O Sounds, the kids loved it. The first release was Bassey Black’s “Someone to love” (DSL 001) which sold over a 100,000 copies, a big hit at the time. The success of the album attracted several artists the most influential of which was Mike Umoh. He aimed for the pop market with accessible, funky arrangements, however his affinity for funk and disco has made him a reference for collectors worldwide. His LP entitled, “Honey, Honey” (DSL 002) was the label’s second release and his most successful album and he also produced the labels 19th release, Bindiga’s, “No More Starvation” (DSL 019), an afro-boogie funk masterpiece. The album in its original format is very sought after by collectors and djs and changes hands for huge sums. Its been described by many as cosmic funk at its finest. Christy Ogbah´s disco soul/highlife records on Duomo are also very highly sought after. This new Livingstone Studio release presents the best of Duomo Sounds Ltd. for the first time.”
Reissued just after the 30th anniversary of its cinema and LP release, Angelo Badalamenti’s classic soundtrack for David Lynch’s surreal small town crime thriller Blue Velvet is now placed back in circulation via Fire Records.
All the hallmarks of Badalamenti and Lynch’s soundtracks are here, from orchestral string arrangements such as the magisterial Mysteries of Love [Instrumental] and Julee Cruise’s sylvan synth version, thru to Isabella Rossellini’s smoky blues cover in Blue Velvet/Blue Star - Montage and ’50s/’60s influences from Roy Orbison and Bill Dogett, with a choice piece of surreal Lynch/Badalamenti collage in Lumberton U.S.A./Going Down To Lincoln - Sound Effects Suite to boot.
Jezus the Julee Cruise piece is just golden...