SKULLFLOWER - 'CARVED INTO ROSES/INFINITYLAND/SINGLES'

Formats

• VHF128 - 3xCDs

  783881012828

Details

Recorded together and originally conceived as a double-CD back in the dark ages of 1995, Carved Into Roses and Infinityland find the transitioning from the heavy riffs of Skullflower's early days to a more free-form sound that continues to drive Matthew Bower's many guises (Total, Sunroof!, Hototogisu, Mirag, etc.) to this day. The revamped lineup of Bower, Stuart Dennison, Russell Smith (of UK scuzz legend Terminal Cheesecake) and Phillip Best whacks away at both styles simultaneously, with lumbering hooks meeting rainbows of coruscating feedback. Both records start with lengthy, two-chord modal jams, anchored by the guest organ of Simon Wickham-Smith. "Pipe Dream" and "The Idiotsburgh Address" sport structures that wouldn't have been out of place on a 1960s Pharoah Sanders album, but with the spiraling sound of Bower and Smith's guitars tearing up the sound bed. The two-guitar / no-bass configuration sounds at times like a UK version of The Dead C. "White Fang's" slashing riff and Michael Morleystyle vocal are a tip of the hat to the New Zealand band's (essentially contemporaneous) key works. Elsewhere, the classic drone and lowend menace of "Abraxas" and "Blood Orange," the galloping drum signatures on "Metallurgical King" and the live mayhem midway thru Carved make it clear that this was a real working outfit that laid down a distinct statement of purpose and identity on these two records. The Singles disc collects both sides (over 50 minutes) of the four 7-inch records that were released around the same time and made largely by the same lineup. Not exactly a "singles band," Skullflower nevertheless has more than a dozen releases on the format. The alternate take on "White Fang" is even more jagged and crackling than the one on Infinityland. "Choady Foster" and "Spent Force" are huge pools of sound. Among these more straightforward tunes are oddities like the live version of "Metallurgical King," and the two sides of the Village Sorting single, a studio recording featuring Tim Hodgkinson (Henry Cow, the Work) blowing the roof of the place on alto.

Tracks

Disc 1
1. Pipe Dream
2. The Rose Wallpaper
3. Shiny Birds of Doom
4. Silver Glove Puppet
5. Metallurgical King
6. GF4050

Disc 2
1. The Idiotsburgh Address
2. White Fang
3. Pixie Dust
4. Abraxas
5. False Magic Kingdom
6. Blood Orange

Disc 3
1. White Fang #2
2. Glassy Essence
3. Choady Foster
4. Spent Force
5. Metallurgical King (live)
6. Twin Constellations
7. Village Sorting (Pt. 1)
8. Village Sorting (Pt. 2)

Press

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Audio & Video

PETER BRODERICK - 'OLD TIME / SOLACE IN GALA'

Formats

• ERATP035SP - 7" & DL

  4050486054604

Details

*INCLUDES EXCLUSIVE DIGITAL 14 TRACK BONUS SCORE. New-Berliner Peter Broderick has established himself as a composer in his own right, may it be as a touring member in Efterklang, collaborating with label mates Nils Frahm and Dustin O'Halloran, or most recently, working on the Last Night soundtrack with Clint Mansell. His innate gift as a musical medium, picking up any instrument to turn his musings into songs, has won the 24-year old American composer many hearts worldwide. 'A songwriter of beguiling depth' ? The Sunday Times 'Painfully young and unnervingly talented' ? The Economist's Intelligent Life 'A precociously talented, classically trained multi-instrumentalist' ? The Independent Following on from his contemporary dance scores Music For Falling From Trees and Music For Congregation, November 28th, 2011 will see Broderick return with a brand new work released on Erased Tapes Records, entitled Music For Confluence. Created for documentary filmmakers Jennifer Anderson and Vernon Lott, the soundtrack takes the listener through waves of stark emotions. The release of Music For Confluence will be preceded by the double A-side single Old Time / Solace In Gala on November 7th. IN HIS OWN WORDS: It was November 2010 when I started to seriously think about relocating to Berlin. I knew my Danish visa would run out sometime in 2011 and if I wanted to stay in Europe I'd need to either renew it or get another visa elsewhere. Berlin pulled me in like a magnet, with so many of my friends and inspirations living and working there, and also being so central for my frequent European travels. And just when I started to think about finding a place, I heard about a friend of a friend who was renting out a spacious two-floor apartment in the middle of town. I was told the building was owned by a man who only wanted musicians to live there, so I could make all the noise I wanted, and on top of that I was given a key to the piano store on the bottom floor so I could play anytime the store was closed? the place was made for me! All winter, when I wasn't traveling and playing concerts, I was locked away in this new space creating. I had been asked to make the score for a documentary film called Confluence. The film is based in the Lewiston, Idaho area, not too far from where I grew up in the USA, and it chronicles several mysterious cases of young girls found murdered or gone missing around 1980, all of which seem to lead back to one man who for a variety of reasons has not been able to be charged with these crimes. So with my minimal equipment and a key to Die Klavier Etage (the piano store), I set out to create some textural soundscapes which could compliment the building tension of the story without being too intrusive or suggestive. Days and nights, snowed in and experimenting with layers and layers of whichever instruments I had around, finding a murky atmosphere that fit with the uneasy feeling which the film gave to me. On New Year's Eve I was inside, recording the final notes for the score. I had finished everything except the piece for the credits. After speaking with one of the directors of the film, Vernon Lott, we decided the song for the credits should be different from the rest of the score. So while the fireworks were exploding outside my window, I was recording Old Time, a song which for me felt like a breath-of-fresh-air after story which can only leave you wondering? ? Peter Broderick

Tracks

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Press

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Audio & Video

PUNKS ON MARS - 'HEY TIFFANY!'

Formats

• ZM011 - 7"

Details

Punks on Mars is Ryan Howe, the artist formerly known as Luke Perry. Along with past and present Zoo Music artists such as Crocodiles, Dum Dum Girls and Dirty Beaches, Howe creates his own sonic world, but according to Altered Zones, his is one where "ambitious, full-band stadium swagger... sounds like it's being re-directed live from Mars." The four-song Hey! Tiffany EP is issued in a limited edition of 500 copies on black vinyl.

Tracks

1. Hey! Tiffany
2. She?s a Glitter Punk
3. She?s on the Radio
4. The Roadster

Press

?The Damned?s ?New Rose,? Generation X?s ?Kiss Me
Deadly? and now this?the latest entry into the paedo-punk
canon comes courtesy of sicko Luke Perry... [This] really
does sound like Glitter doing unspeakable things to underage
Martians. Enjoy it while you can?.? ?Vice

Audio & Video

FLAT DUO JETS - 'GO GO HARLEM BABY'

Formats

• TMR059 - LP

  N/A

Details

We are so very excited to announce the reissue of the Flat Duo Jets classic 1991 release "Go Go Harlem Baby." The piece de resistance of Dex Romweber's voluminous back catalog, ably backed by the trusty Chris "Crow" Smith on drums, "GGHB" is as solid an LP as you will ever find. Some of you may remember Jack White dropping the needle on the Jets' version of "Froggy Went a Courtin'" in the "It Might Get Loud" doc as an indicator of his early influences. Maybe you remember the White Stripes covering "You Belong to Me" or "Apple Blossom Time" in their live performances. Those songs, as well as all the rest featured on "Go Go Harlem Baby" are genuinely important in the pantheon of American music. Out-of-print on vinyl since it's original issue twenty years ago, Third Man Records worked solidly for a year-and-a-half to make this record available again. Please enjoy.

Tracks

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Press

there will be

Audio & Video