DEAD GAZE - 'S/T'

Formats

• GT011 - 10"

  N/A

Details

R. Cole Furlow makes beautifully angsty music as Dead Gaze. His songs are bursting with warped emotion, fucked up vocals and thick riffs with a beating pop heart. We're stoked to present five gems on our first ever 10-inch, each one will make you feel good about feeling bad. This pressing is limited to 500 records on translucent orange vinyl. "There's something eerily familiar about Dead Gaze's "It's Not Real" that we can't quite place. It is as though the radio dial caught a muffled pop-transmission from a late 90s Top 40 station. R. Cole Furlow keeps his vocals submerged, per usual, but he's less swampy-New Order on "It's Not Real" and more Flaming Lips from the bottom of the sea. The summers are sticky in Mississippi, but Dead Gaze are a Gulf breeze, assuming such wind currents exist. We are just theorizing and romanticising, since we live elsewhere."

Tracks

1. This Big World
2. It?s Not Real
3. We All Belong To You
4. There?s A Time To Be Stupid
5. Glory Days For Sure

Press

http://www.thefader.com/2011/08/30/dead-gaze-its-not-real-mp3/

check out a track!!

Audio & Video

DANIEL MENCHE & ANLA COURTIS - 'YAGUA OVY'

Formats

• MIE007 - LP

  N/A

Details

NEW TO FORTE! getting some older titles in from MIE, Yagu? Ovy is the first collaboration between the sublime noise artist, Daniel Menche, and Anla Courtis, the Argentinean experimental guitarist and founder of Reynols. Based around the Argentinean mythology of the Werewolf, or ʻthe blue dogʼ that lives on the ʻLand without Evilʼ of Mbya?Guarani, Yagu? Ovy shows Menche and Courtis at their commanding best, whipping up a cacophony of primal and natural noise from all manner of objects and instruments. Menche draws out the sound and resonances found lying in snow and rocks while Courtis bewitches pizza sauce cans and his guitar creating this mind flaying homage to the mythical wolf. Alan Courtis (aka Anla Courtis) was born in 1972 in Buenos Aires, Argentina, where he still lives. He was a founder member of Reynols and has many releases on labels all across the world. He has toured extensively internationally and has collaborated with musicians like Pauline Oliveros, Otomo Yoshihide, Jim OʼRourke, Mats Gustafsson, Rick & Alan Bishop, Toshimaru Nakamura, and Lasse Marhaug. Courtisʼ music always has strong experimental sense and is based on high-skilled techniques of prepared sound, tape manipulations, processing of field recordings, live electronics, objects, cymbals, synthesizers, computer tools, playing traditional (both acoustic and electric) instruments as well as self-built, strange and unusual instruments (unstringed guitar, for example). In a genre known for its randomness and chaotic structure, Daniel Menche, has established himself as a musician with an uncharacteristic sense of focus and determination. Rather than creating "noise," he strives for order and cohesiveness. Aural intensity is not a representation of confusion or the chaotic, but a concerted effort to provoke and stimulate the listenerʼs imagination by generating intensely powerful sounds and music. Daniel Menche's work originates from the idea that there is no restriction to potential sound sources, especially in terms of a soundʼs potential sonic energy. Self-made recorded sound sources, instruments, and percussion can all be equally harnessed in creating a living and emotional feeling within Daniel Menche's contemporary work. Any and all sounds are possible conduits to music. There are absolutely no barriers or biases in what can be used. In Yagu? Ovy these two unique artists have come together for the first time and have made a record of stunning primordial beauty. MIE Music is hugely proud to be able to be releasing this LP on 180 gram vinyl in a limited run of 500 for the world. The long time Menche collaborator and artist, Eric Stotik, did the stunning artwork.

Tracks

N/A

Press

?Mencheʼs raw reminder of the brutal power of nature is a most exciting and
singularly excoriating way to start the year.? - Mapsadasical on Daniel Mencheʼs
Kataract
?one of the most engaging, and naturalistic collaborations in recent years ? and these
guys didnʼt even meet? - Foxy Digitalis on Courtis/Mooreʼs Brokebox Juke

Audio & Video

CATH & PHIL TYLER - 'DUMB SUPPER'

Formats

• MIE006 - LP

  N/A

Details

NEW TO FORTE! Cath & Phil have been stars of the North East underground scene for the past three years, sharing stages with Six Organs Of Admittance, Papa M, Charalambides and many more. Dumb Supper was originally released to critical acclaim in 2008 by No-Fi recordings and the record now sees a re-release on 180 gram vinyl by MIE Music. Cath is a renowned teacher on the Sacred Harp singing circuit. Sacred Harp is vigorous community singing of a particular collection of four part harmony hymns (from the 19th Century book The Sacred Harp) usually for closed as opposed to public performances. Its been described as 'like a cross between Gregorian chanting and bluegrass' and elements of its stylings appear in the duos recordings. Cath & Philʼs music beautifully blends the hard edged traditions of primitive Americana and English folk, using guitar, banjo, fiddle and more, all topped with their searing vocals and sublime harmonies. Their songs speak of grit, blood and guts, tenderness, love and death. Cath & Phil believe in folk retaining its original storytelling function, passing on tales through the centuries. In their words, "These songs came to us by way of Lena Bourne Fish, Hattie Hicks Presnell, Homer Cornett, Eleazar Tillett & Martha Etheridge (Anne & Frank Warner Collection); the Sacred Harp?We changed some of the words and wrote some of the tunes." All the songs on the album are adaptations of songs they have unearthed or which have been passed on to them through family members, musical collaborators and their own love of the original information highway, folk music. Cath & Phil Tylerʼs take on folk sees a refreshing return to traditional folk at its rawest; reinstating grit, virtuosity, authenticity and mesmeric, powerful performance to this timeless genre.

Tracks

N/A

Press

"Folk moves into a new era with Cath and Phil. Their combination of earthiness and
grit, raw yet heartfelt and beautiful singing and immaculate playing makes this one of
the most exciting and most moving albums I've heard in a long while."
Fiona Talkington, BBC Radio 3ʼs ʻLate Junctionʼ
?Dumb Supper is one of those rare modern folk albums that will find a home in both
the longstanding ʻtraditionalʼ music community and among those attracted to the
forms more experimental and lo-fi possibilities?.Itʼs a weird looking-glass effect
many folk fans will be familiar with: the straighter you play it, the stranger it
gets?Shirley Collins always understood this and so do Cath & Phil Tyler.?
Plan B

Audio & Video

INVISIBLE POLYTECHNIC - 'PERFORM IN C BY TERRY RILEY'

Formats

• ASP020 - LP

  N/A

Details

There have been numerous recordings of Terry Riley's In C. Written for any number of performers, playing any instruments, and with its loose, semi-improvised score, the range of approaches to the piece since it was first composed in 1964 has been one of its defining features. You can recognise the family resemblance between many of the varied recordings, but some have definitely been rather odd-looking ? all-piano or all-flute versions, Chinese film orchestra, noise rock, etc. It's hard to think of a musical genre that hasn't weighed in with its own take on the piece. The idea behind the Invisible Polytechnic's scoring of the piece was to offer a counterpoint to that on the original LP by the composer's ensemble in 1968. Riley used only woodwind, brass and percussion, and the record as a whole is very bright, percussive, zippy. This is partly a result of the faster tempo he takes it at (Riley didn't specify the tempo or the instrumentation), and partly due to the timbres used. Invisible Polytechnic wanted to have a "much more rounded, rich, autumnal sound": "This came from using the viola, the hurdy gurdy, the bass strings of a harp, the bamboo flute and the bassoon. As most of the instruments were in the midrange, it opened up perceptual space for the remainder. The idea was to combine instruments from different traditions (classical, Western folk, early music, world) in a way that didn't proclaim the intention to be a FUSION PROJECT." The other variation between this recording and others is the frequent use of augmentation of the rhythms. Augmenting a rhythm means playing it at half-speed (or quarter-, eighth-, etc.). There are quite a few figures played at sixteenth speed. This adds a lot of musical tension, creating pedal points that allow what is happening above to take on a different hue. This contributes to the feel of this record, which is definitely quite a mellow version of the piece, compared with some of the other recordings. It concludes with a field recording of the space of the original site of performance in November 1964, the San Francisco Tape Music Center, which is now a yoga studio.

Tracks

N/A

Press

KDVS top 30, WZBC, WXDU, WFMU
"Large British ensemble scales the infinite peaks of Riley?s famed composition, carrying on the original?s sense of
whimsical urgency and a polite yet curious air throughout both sides. Those expecting ?new music ensemble?-type
instrumentation and presence can breathe easily here, as Mark Pilkington and co. are not out to do more but present
the exacting majesty of the piece in respectable terms, via a large chamber and choral ensemble. And in that sense,
they win ? indisputably. If you?ve never heard the piece, this and Riley?s original are good places to start, followed by
the Styrenes? version of it, and dead last, Acid Mothers Temple." (Doug Mosurock) STILL SINGLE

Audio & Video

SOCRATES THAT PRACTICES MUSIC - 'FURTHER CONCLUSIONS AGAINST AN ITALIAN VERSION (BAT)'

Formats

• ASP021 - LP

  N/A

Details

Further Conclusions Against an Italian Version (BAT) is the debut album from Socrates That Practi?es Music. The London-based group have been compared to Bauhaus and A Certain Ratio, but more recently Socrates would be better described as a two-man metagoth outfit who use samplers, synths, guitars and drums to explore the occult, shire horses, legal wrangles and less-than-confident gardeners. According to Everett True, they "gabble and scratch, [and] hibernate in bearded acclaim". "It's like Country Life magazine edited by M.R. James and designed by Barney Bubbles" (Norris Stoat, Melody Maker).

Tracks

Side A
1. WOPR
2. Coyote
3. Mrs Hammersmith
4. I am Alive Order
5. The Measures
6. The Signal is Ready
Side B
1. Ruthless Rake
2. Tommy Dawsey
3. Judged by the Left Eye
4. John Logie Bair

Press

KDVS top 10, WXDU top 88.7, WZBC, WFMU
"...art-rock and neo-folk with an eccentric counterpoint to place themselves beyond the reach of all. Stabs
at profundity that reach beyond the cabaret or the intentionally weird and find themselves in the orbit of
the Jefferies brothers at a better time for us all." (Doug Mosurock)

Audio & Video