Yet another dreamy peach from STROOM 〰, ‘Chosen Songs’ collects an unmissable introduction to the shadowy poetry and music of 48 Cameras; a long-running, mutable ensemble helmed by Belgium’s Jean-Marie Mathoul (✝ 04/07/2018)
Spanning 8 pieces, each recorded in one take between 2002-2013, ‘Chosen Songs’ notably features guest input from Michael Gira (Swans) and Robin Rimbaud (Scanner) among many others. However, the centre of attention is Jean-Marie Mathoul (1952-2018), whose poetry and musical ideas form the basis of the self-proclaimed non-band’s haunting electro-acoustic spaces and possessed air. Just from initial listens, we can already tell this is going to be a big favourite during the present and coming long nights. Fans of Félicia Atkinson, John Avery, Kreng or Jani Christou are almost certain to fall under this record’s spell.
“48 Cameras was the brainchild and life project of self-proclaimed non-musician Jean-Marie Mathoul († 04/07/2018), a social worker born and raised in Huy who carefully conducted 48C towards cult status. After hearing an album of William S. Burroughs reciting poetry, J-M decided to put poems and spoken word to music. He was a poet in his own right, having already published a.o. Une cure au cancer (A cure for cancer), a book of poems which at times was wrongly sold alongside medical books. At a literary event in Liège, Belgium, he met UK-based writer Paul Buck (author of the novel The Honeymoon Killers) and the two of them decided to collaborate and thus formed 48 Cameras. The name of the collective references photographer Eadweard Muybridge and a poem by Jim Morrison; "Muybridge derived his animal subjects from the Philadelphia Zoological Garden, male performers from the University. The women were professional artists' models, also actresses and dancers, parading nude before the 48 cameras'' (in The Lords and the new creatures).
It is important to note that 48C is somewhat of a non-band. The musicians and collaborators never actually recorded together, and to this day some haven’t even met each other. Before starting the recording process, J-M built an album in his mind: choice of album and song titles, who was to collaborate, even the artwork was clear long before the first note was played, leaving little room for surprises. All of this was carefully collected in decently structured Atoma notebooks full of polaroids, annotations and cut-out photos of paintings and advertisements of cigarettes. An avid smoker himself (as long time collaborator Calo recalls: ‘sometimes he was smoking three cigarettes at a time, he’d forget he had already lit one or two’), the notebook papers slowly transformed into nicotine colored archives of a project that often feels like the musical masterpiece of a recluse puppet master, overviewing and directing things from his attic home studio, aptly referred to as “the Observatory”.
Throughout the years collaborators sent their parts by snail mail on tape, DAT or even MiniDisc, and with the arrival of the internet some began to upload their contributions. Never, however, was the collective present together in the attic studio.”
Killer slo-mo techno slugs from Vienna’s Nonetheless duo on Florian Stöffelbauer a.k.a. Heap’s Neubau label
Verging on techno for an ambassador’s reception, the first batch from Felix Bergleiter and Florian Bocksrucker’s new pairing injects a sense of refined, Central European sensibilities to the ‘floor, where needed.
Working in parallel to styles pushed by the likes of Tolouse Low Trax and Vladimir Ivkovic at Salon Des Amateurs, the recoiling chug of Berlin’s Novo Line, or the trawling drag of Sweden’s Fishermen, Nonetheless deliver some serious traction with EP highlights in the unstressed machine squeal and pressure of ‘Exclusion Zone’ and the inexorable acid rolige of ‘Machine of Love and Hate’, plus a the Carpenter-esque groove of ‘Velvet’.
Bohren & Der Club of Gore refine and expand their neon lit blend of midnight jazz and dark ambience, finding romance and a sort of redemption in the heart of the abyss.
Musically, the key reference point remains Angelo Badalamenti's scores for David Lynch; a combination of plaintive sax, ominous synth drones and electronic piano situated at the interzone between dream and nightmare. ‘Zombies Never Die (Blues)’ - the first of the three long, immersive pieces that make up the LP - is apt for midnight revelation at the Roadhouse or Club Silencio; but as well as Badalamenti we think also of Tom Waits at his most unhinged and atmospheric, and of The Caretaker's sweeping, serotonin-depleted excavations of memory.
‘Catch My Heart', an unrecognisable cover of German metal outfit Warlock, evokes the decadence and submerged anxiety of 30s Weimar cabaret; vocals come from the band’s longtime cheerleader Mike Patton, channelling Tuxedomoon, Bowie and even the Brinkmann of When Horses Die into a louche but tortured croon. The title track brings the suite to a close, unbearable tension wrought out of a sparse, repeated Rhodes motif and brushed drums, recalling early Tortoise, For Carnation and the desert-dried doom of Earth. For all these comparisons, Bohren really are like no one else around, and Beileid is the kind of otherworldly, out of body listening experience we live for.
Classically carmine-toned Italian horror score from living legend Fabio Frizzi, for the comedy-horror ‘Puppet Master: The Littlest Reich’, directed by Sonny Laguna and starring Udo Kier
“Lakeshore Records and Fangoria Presents have teamed up to release Puppet Master: The Littlest Reich—Original Motion Picture Soundtrack which features an original score by legendary film composer Fabio Frizzi (Zombie, City of the Living Dead, The Beyond), digitally on August 10th.
This is the first soundtrack to fall underneath the banner Fangoria Presents from Cinestate. Written by by S. Craig Zahler (Brawl in Cell Block 99, Bone Tomahawk) and starring Thomas Lennon, Udo Kier and Barbara Crampton, the film was produced by Cinestate in conjunction with Fangoria and will have a limited release in theatres beginning August 17th. Based on the Charles Band cult classic, the new reimagining of the Puppet Master series has been garnering rave reviews for it’s over the top gore and dark humor.
Recently divorced and reeling, Edgar returns to his childhood home to regroup his life. When Edgar finds a nefarious looking puppet in his deceased brother’s room, he decides to sell the doll for some quick cash. Girl-next-door Ashley and and comic book pal Markowitz join Edgar for a doomed road trip to an auction at a convention celebrating the 30th Anniversary of the infamous Toulon Murders. All hell breaks loose when a strange force animates the puppets at the convention, setting them on a bloody killing spree that’s motivated by an evil as old as time.”
First ever collection of the pioneering British reggae Lovers Rock group Brown Sugar including rare singles, dubs and extended mixes. The album comes with extensive sleevenotes and interviews with Dennis Bovell, Pauline Catlin, John Kpiaye and Winston Edwards (Studio 16).
"Brown Sugar were formed by three young teenage girls - Pauline Catlin, Caron Wheeler and Carol Simms in South London in 1976. In the short period of time 1976-1980, the group - working with Dennis Bovell on the mixing desk and John Kpiaye (‘Brownie T) in the studio - recorded barely a handful of singles on the new Lovers Rock label, a number of which went to the top of the UK reggae charts. But success stopped there and with no album release and no industry support the group broke up in the early 1980s.
Following their split Caron Wheeler became the lead vocalist for the hugely successful group Soul II Soul, Carol Simms launched a solo career as Kofi (re-making a number of Brown Sugar songs with producer Mad Professor) and Pauline Catlin returned to education. nDespite their relatively low-key mainstream public exposure Brown Sugar (and the label on which their first records appeared) announced to the world a new genre of reggae music, Lovers Rock, which spoke for the first time with the sensibility of a new segment of British society; that of first generation-born Black British female youth.
And while Lovers Rock became synonymous with sweet love songs, Brown Sugar’s music in fact expressed far more; a righteous pride and consciousness in being Black and British, a political stance more often associated with UK roots groups like Black Slate, Aswad, Misty In Roots and other British reggae acts in the late 1970s. Brown Sugar were in fact their own genre of ‘conscious lovers rock’ - an expression of ideological black cultural pride.
Brown Sugar’s handful of three-minute love songs (often plus extended dubs) somehow manage to encapsulate all the complexities of identity, sexual politics and youthful righteousness of Afro-Caribbean youth living in Britain in the 1970s. Songs such as ‘I’m In Love With A Dreadlocks’, ‘Our Reggae Music’, ‘Black Pride’ and ‘Dreaming Of Zion’ spoke with a straightforward righteousness and consciousness that few roots groups could hope to match. The fact that they were all teenagers is even more striking.
Dennis Bovell comments, “For Lovers Rock we needed a pulpit, a way of saying ‘this is the style’. Sound systems were already saying ‘this is lovers,’ brandishing it in the dance. Ourintention was to create a style of music that my generation could identify with - one that had a beat, and you could dance to with your partner in a sound system setting.” Dennis Bovell’s mixes for the group gave a further dimension to Brown Sugar records - a sound system mentality, adding sound effects and dub elements. ‘I’m In Love With A Dreadlocks’ was the debut release for both Brown Sugar and the Lovers Rock label, a fitting calling card for both. The record was a hit on many sound systems across the UK, reaching the top of the reggae charts.
Although the career of Brown Sugar was short-lived, their legacy and influence remains significant and now, 40 years on from these first records, all of the members are still involved in music. Pauline Catlin has recently re-launched her career under a new moniker, Shezekiel; Carol Simms, aka Kofi, remains a successful solo artist, one of the queens of Lovers Rock; Caron Wheeler, after leaving Soul II Soul at the end of the 1980s, embarked on a solo career, before re-joining the soul super-group which she continues to front to this day."
Aman!!! is a newly formed project by Tasos Stamou (Greek bouzouki & Turkish saz) and Thodoris Ziarkas (blues guitar).
"The duo explores the borders of improvisation in the context of traditional music, especially focused in the musical heritage of Greek Rebetiko and other styles of the South East Mediterranean. The project reflects reflects both musicians' interest about reinterpreting traditional music in a contemporary, non sterilized form whilst dealing with music tradition in their very own special way; abstract prepared-strings improvisations blend back-and-forth with original old songs of '30s and '40s phonography.”
Quick, melodic folk music for healing depression, from Madagascar
“June 2017, France. It’s 40° both inside and outside. At Studio Black Box, in the Haut Anjou, it is as if you were there, in Madagascar. And when the tape recorders start rotating, the musicians’ imagination feeds off the guts of their music : Malagasy bush, tropical heat, red dirt, sand, drought, corn, cassava, cockcrow, mooing zebus, lambahoany (fabric), leaf hut, fotaky house (mud), dust, portable generator, music, rhum, bodies frantically dancing wether in the dark or under the blazing sun…Tsapiky.
The album shall be named Valimbilo.
Bilo is a disease which strikes one’s mental health, depression is what western societies call it. When one is diagnosed with « voany bilo », a precise medical treatment is engaged and performed without doctors, nor medicine. To vanquish bilo, one has to use music.
The sorcerer solely decides upon the “good” day (the day which gathers the most positive aspects of the astrological conjuncture) to operate: the extended family hosts a ceremony ruled by many taboos, which can last up to a few days, and in which only one remedy is applied in high dosage : some Tsapiky.
They are “doctor” musicians whom talent is source of the cure.
They play for the patient, who has to be facing the orchestra : all of their attention is focused on the bilo, dancing in the sick person’s body : It has to be awaken, seduced, surprised and attacked from every angle before it is pressured, pressured until KO, until it can’t take the it anymore, stuffed with music. Then the patient is relieved, discharged, and the ceremony is over.
During the entirety of the ceremony, the patient picks a person who helps him/her get the bilo out of his/her system, this is what we call “valimbilo”, literally “husband/wife of the bilo””