DANIEL BRANDT - 'ETERNAL SOMETHING'

Formats

• ERATP094CD - CD

  4050486113011

• ERATP094LP - LP

  4050486112991

Details

Daniel Brandt, co-founder of Germany’s electroacoustic ensemble Brandt Brauer Frick, joins the Erased Tapes family with his solo debut album Eternal Something – released worldwide on March 24th 2017. What started off as a more simplistic idea soon evolved into something a lot more complex as the London and Berlin based music producer travelled across the world, experimenting with various other artists and different instruments. From his father’s cabin based in the German countryside with access to nothing but cymbals, to being surrounded by guitars in Joshua Tree, his unexpected journey soon progressed into what became his first solo album. Daniel played nearly all instruments himself with the only exception being fellow musicians Florian Juncker on trombone, Manu Delago on hang drum and Andreas Voss on cello. Using his Berlin studio as his main base for recording, Brandt created an album that encapsulates the idea that despite setting out with a particular creative vision, external influences and environments will always shift the process, and create an Eternal Something. Words from Daniel, January 2017: “The initial idea was to make a cymbal album. I wanted to surround myself with all types of cymbals. I locked myself into my father’s cabin in the woods for three days. That was the moment I realised it was not possible for me to make an album just with cymbals because other ideas and instruments imposed themselves on me. I had a clear sense of what I wanted to do now. The intention was to let the songs evolve by themselves and not edit too much, keep it raw and have an explosion-like energy to them. I wanted to create a different sound, songs that build up like dance tunes but don't feel like club music at all. Travelling around in California for two months gave me the possibility to deeply get into this concept outside my normal environment. Robert Raths, who served as a great motivator throughout the whole process (I guess he had listened to the record more than I ever had) came up with the perfect order for the songs. This record is about failing to make the original plan happen, but then the discovery of something I couldn't even think of before.” Prior to being enlisted to create the album artwork, Iranian artist Shaz Madani coincidentally had also planned a trip to Joshua Tree where she documented her own experience of Eternal Something, forming the visual counterpart to the record.

Tracks

1. Chaparral Mesa
2. FSG
3. The White Of The Eye
4. Turn Over
5. Kale Me
6. Eternal Something
7. Casa Fiesta
8. On The Move

Press

Previous: ?Concert hall compositions for the clubbing generation? ? BBC Music

?Classically trained, dancefloor-literate sound scientists? ★ ★ ★ ★
? The Guardian

?New heights of imagination and technical accomplishment? 7.8
? Pitchfork

?Percussively pleasing? 8/10
? The Line Of Best Fit

Audio & Video

EXPLODING EYES - 'S/T'

Formats

• BN013 - LP

• BN013CD - CD

  61328582682

Details

EXPLODING EYES are a heavy psych rock trio from Dublin, Ireland. Channeling the explosive dynamics of the classic power trio, the band draw influence from such heavyweights as Mountain, Blue Cheer and Andromeda. With the addition of live therein, experimental soundscape guitar and a taste for raw punk'd up space rock the bands other influences of Thee Oh Sees, Hawkwind and Pink Fairies begin to seep through. With a debut LP recently back from the workshop of producer JIM DIAMOND (White Stripes, Dirtbombs, The Sonics) the Eyes are looking to the future to melt the minds of the most hardened rock listener. Pressed on red vinyl

Tracks

Press

Audio & Video

THE DEVIL & THE ALMIGHTY BLUES - 'II'

Formats

• BFTRSLP009 - LP W/ CD

  40466614700

• BFTRSCD009 - CD

  4046661469929

Details

This is the long awaited follow-up to The Devil And The Almighty Blues’ highly acclaimed self-titled debut album, and these guys have not gone astray! The album “II” gives a peep through the pinhole at a band’s honest, dark and pure expression, drawing influences from the original delta blues via the electrical revolution in the late sixties/ early seventies, to the more contemporary desert scene. Formed in the rock’n’roll underground of Oslo, Norway in 2010, The Devil And The Almighty Blues have captured the attention of blues and rock enthusiasts from all corners of the globe. And with good reason: Filled with a profound love for the old heroes of the blues, for rock, metal and punk, they bring something extraordinary to the scene. In cooperation with Blues For The Red Sun, a label based in arctic Norway, DATAB are ready to unleash their second album on the world – at last! Armed with vintage Gibson guitars and tube amplifiers, they recorded “II” live in Ocean Sound Recording Studio on the edge of the North Sea. This was to preserve the natural and musical energy, the desperation and dark joy we know and love from their live shows. DATAB represent a new take on blues-based rock; heavy without becoming metal, dark without being doom, bluesy without being straight up and boring. The album has turned out melodic, raw and unbelievably heavy. This is far from being a possible hit on the radio, but who cares? On April 20th they will be playing at Roadburn Festival in Tilburg (NL)

Tracks

Tracklist:
Side A:
These are old hands
North road
When the light dies
Side B:
Low
How strange the silence
Neptune brothers

Press

Audio & Video

JON GIBSON - 'TWO SOLO PIECES'

Formats

• SV069 - LP

  855985006864

Details

For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson’s centrality to American minimalism – witness its inclusion in Alan Licht’s famed Minimal Top Ten list – this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas. As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While “Cycles,” an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson’s captivating alto flute on “Untitled” draws the listener inside the instrument itself. The photo on the album’s back cover – a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan’s Peace Church – offers a striking visual complement to these gorgeous recordings. Originally released in 1977 on Philip Glass’ Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley.

Tracks

1. Cycles 2. Untitled

Press

His second album originally released on Philip Glass Chatham Square imprint. Frequent collaborator with Steve Reich, Philip Glass and La Monte Young. First-time vinyl reissue. Included in Alan Licht?s Minimal Top Ten list ? Recommended for fans of Anthony Moore, Roberto Cacciapaglia, and Terry Riley

Audio & Video

POWER - 'ELECTRIC GLITTER BOOGIE'

Formats

• ITR304 - LP

  759718530414

• ITR304CD - CD

  759718530421

Details

The appeal of Power is the spontaneous brilliance of live Australian hard rock music. The heat from relentless performances in greasy inner city pubs was strong in the ’70s, and the debut albums of many of Australia’s greatest bands are testimony to many late nights twitching and sweating it out. Troglodyte rock music and inner city Melbourne have always made sense. Every week there have been bands playing fast and loose. 2014 was the year Power stepped up, and immediately earned comparison to Melbourne’s Coloured Balls, sharing that edge of menace in their affection for boogie rock and the same air of familiarity with aforementioned greasy confines. Power hosted their own weekly residency in this city, kicking through backyard parties and seemingly hundreds of Tote Hotel shows with the collection of songs they recorded at the right moment and turned into Electric Glitter Boogie . The result has the savage drive of their live sound , the bolts tightened to threadbare, and is carried by that supreme confidence and determination that allows the band to relax and let the songs happen when they need to, and to know when to kick it hard. Living in the age of power. The sound is raw but full, the band recorded live with minimal overdubs , and the songs continually disintegrate into white heat guitar noise before slamming back into manic amphetamine lockstep. In eight numbers, they traverse an entire history of hard rock, electric glitter boogie, thug glam, raw power punk. Strong character. Definite purpose. Something you just cannot control. 

Tracks

1. Electric Glitter Boogie
2. Serpent City
3. Puppy
4. Gimme Head
5. Slimey?s Chains
6. Rainbow Man
7. The Reaper
8. Power

Press

Audio & Video

DIE TODLICHE DORIS - ''' '''

Formats

• ETA03 - LP

  855985006734

Details

Die Tödliche Doris was born out of West Berlin’s lively post-punk community in the early ‘80s. Along with Einstürzende Neubauten, Malaria, Sprung Aus Den Wolken and Frieder Butzmann, Die Tödliche Doris ranks amongst the Geniale Dilettanten – which roughly translates as “ingenious dilettantes” – who sought to democratize cultural productions beyond the grip of both Western capitalism and GDR socialism. The Geniale Dilettanten became synonymous with a free-for-all approach to music, film, painting and performance where participants encouraged raw expression through provocation and experimentation. Wolfgang Müller and Nikolaus Utermöhlen founded Die Tödliche Doris in 1980, presenting the public persona of Doris as a constantly shifting entity that deliberately engaged the contradictions of the human condition. The band often referenced themselves in the third person singular, alluding to Doris as a fully-formed female character with explosive, colorful emotions. For her debut album – originally released on Zickzack in 1982 and playfully titled " " (that is, blank space surrounded by quotation marks) – Doris most closely entertains the notion of a typical rock band with drums, bass and guitar. Produced by Neubauten’s Blixa Bargeld, the thirteen songs presented here are disquieting lullabies of profound anxiety, savage and primitive deconstructions of German polka and manic lacerations of punk minimalism: all reflections of the many and fractured personalities of Doris. This first-time vinyl reissue includes a reproduction of the original 24-page booklet. Limited edition of 500 numbered copies on clear vinyl.

Tracks

1. St?mmel Mir
2. Posaunen Der Liebe
3. Der Tod Ist Ein Skandal
4. Panzerabwehrfaust
5. Wie Still Es Im Wald Ist
6. Sie Werden Nicht Beobachtet
7. Haare Im Mund
8. M. R?ck: Rhythmus Im Blut
9. Kavaliere
10. Fliegt Schnell Laut Summend
11. Robert
12. ?ber-Mutti
13. In Der Pausee

Press

Audio & Video

TOD DOCKSTADER - 'EIGHT ELECTRONIC PIECES'

Formats

• ETAT02 - LP

  855985006727

Details

Originally self-released in 1961 and later issued by Folkways, Tod Dockstader’s Eight Electronic Pieces is a foundational document of American electronic music and a stunning first work from this revolutionary composer. Refused access to the resources and funding of the academy and without any interest from the record industry, Dockstader assembled his debut album through three years of his own private labor – recording after-hours at the New York radio station where he worked. Dockstader’s approach was informed by the laboratory experiments of his European contemporaries Edgar Varèse and Pierre Schaefer as well as by the aleatory compositional techniques and neo-dadaist aesthetics of John Cage. While Dockstader famously described his music as “organized sound,” Eight Electronic Pieces is not pure musique concrète. Oscillators pulse and clash with fragments of incidental tape music, leaving collages of sound as tuneful and memorable as they are otherworldly. A visionary debut that presages the abstract ambience of modern IDM and an essential addition to any collection of early electronic music. Limited edition of 500 numbered copies on clear vinyl.

Tracks

1. Piece #1
2. Piece #2
3. Piece #3
4. Piece #4
5. Piece #5
6. Piece #6
7. Piece #7
8. Piece #8

Press

Audio & Video

ARNOLD DREYBLATT AND THE ORCHESTRA OF EXCITED STRINGS - 'PROPELLERS IN LOVE'

Formats

• SV117 - LP

  855985006178

Details

Arnold Dreyblatt has been called “the most rock ‘n’ roll of all the composers to emerge from New York’s downtown scene in the 1970s.” Dreyblatt founded The Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra’s second album – originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien – develops Dreyblatt’s rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums. On Propellers In Love, simple song titles – “Odd & Even,” “Harmonics,” “Bowing” – belie intricate harmonic structures. Dreyblatt’s modified instruments – a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation – undergo the Orchestra’s rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion (“Pedal Tone Dance” and the title track). Throughout, the Orchestra’s perpetual motion achieves a tremulous and exquisite density. Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine.

Tracks

1. Propellers In Love
2. Bowing
3. Pedal Tone Dance
4. Harmonics
5. Odd & Even
6. Lucky Strike

Press

Renowned composer who studied with
Pauline Oliveros, La Monte Young and
Alvin Lucier

Audio & Video

JOE JONES - 'IN PERFORMANCE'

Formats

• ETAT05 - LP

  855985006758

Details

After studying with composers John Cage and Earle Brown, Joe Jones became a prominent figure in Fluxus, contributing to the movement’s first “yearbox” alongside La Monte Young, György Ligeti and Nam June Paik. Beginning in late 1961, Jones began constructing his own music machines – drawing inspiration from the calliopes, automata and orchestrions of the 19th and early 20th century to create self-playing ensembles of stringed instruments, percussion and woodwinds – “played” through an elaborate (yet decidedly lo-tech) system of rubber bands, balls and tin foil. Christened the Tone Deaf Music Company, this battery of automated musical instruments generates the sounds on In Performance (originally released in 1977 on the Harlequin Art imprint). With exacting conceptual precision and varied subtleties of natural motion – not unlike Harry Bertoia’s sounding sculptures – Jones’ machines produce richly-textured strata of sound and serve as engines of paradox. While bringing the figure of the artist-composer to the foreground, the machines ultimately dispense with the need for the performer entirely – a cunning subversion of the fetish for virtuosity and individual genius. Limited edition of 500 numbered copies on clear vinyl.

Tracks

1. Untitled
2. Untitled

Press

Audio & Video

LE FORTE FOUR - 'BIKINI TENNIS SHOES'

Formats

• ETAT04 - LP

  855985006741

Details

The origins of Le Forte Four are those of the Los Angeles Free Music Society itself. Chip Chapman joined forces with Rick Potts (and shortly thereafter Tom and Joe Potts), taking up the LAFMS name in 1974. Ultimately baptizing themselves Le Forte Four, they began threading imagined lines between John Cage and The Residents, Cecil Taylor and Henry Cow – generating sounds completely unlike any of these and anything since. The inaugural release on the eponymous LAFMS imprint with only 200 copies pressed originally, Bikini Tennis Shoes is a staggering piece of anti-music that remains as refreshingly ground-clearing today as it was when it first appeared in 1975. Its 40 minutes (parceled out across nearly as many tracks) chart forays into free improvisation, Buchla misuse, filtered noise, begrudging and damaged melodic sorties (from the Star- Spangled Banner to Stravinsky’s “The Rite of Spring”) and healthy doses of basement pablum. Le Forte Four emerged out of the lethargic American ‘70s as a locus where, in their own words, “gamelans and ragas merged with serial and chance compositions finally melting together with instructional records and Beatles bootlegs.” A wildly eclectic rummaging of postwar culture and 20th century sound, Le Forte Four’s Bikini Tennis Shoes preempts punk’s outsider ethos and DIY autodidactism. Limited edition of 500 numbered copies on clear vinyl.

Tracks

1. Ka-Bella-Cha-Cha
2. Some Problem With The Cord
Or Something
3. Ka-Bella-Binsky-Bungo (Excerpt)
4. Good Worker 5. Aye Ma Ma (I?m Amok)
6. Meanwhile Back At The Tulip Boat, Stinky
And Gus Make Warplanes
7. Your Living Constitution (Dies)
8. Before Docking In Space
9. Candy Wrapper Blues
10. A Little Sloppy Still
11. Bikini Tennis Shoes (One Pair)
12. Joe?s Nose Solo
13. Song Of The Electric Drill
14. I Can?t Even Think
15. On The Dawning Of A Giant Face
16. Joe?s Dead/Bozo?s Marriage/Twinkle
17. What Do You Do, Radiator?
18. The Grocery Store Is My Heaven
19. Fade It Out 20. The Pope Speaks
21. Crank Up The Kids 22. Bongo Madness
23. Ka-Bella Reprise
(An Excerpt In 5 Movements)
24. Steven, Steven
25. Sonnet 26. Ballad De Forte Four
27. It?s Raining Bongos 28. They Are Asleep
29. Music Hall Bootleg (Excerpt)
30. Painting The Roses Red
31. Enough Fun 32. That Feedback Again

Press

First release on the legendary LAFMS imprint,
originally released in 1975

Audio & Video

VARIOUS - 'HIGHLIGHTS OF VORTEX'

Formats

• ETAT01 - LP

  855985006710

Details

The brainchild of visual artist Jordan Belson and electronics polymath Henry Jacobs, the Vortex Experiments ran from 1957 to 1960, first at San Francisco’s Morrison Planetarium and later at the SF Museum of Art. The very name of these events announced their aim: a swirling totality of sensory experience. Around Belson’s richly-colored visuals – making use of the planetarium’s entire dome and featuring luminous, sharply geometric imagery projected through an array of devices – Jacobs ringed a system of roughly 40 multidirectional loudspeakers, each of which could be precisely controlled to produce, in the words of one reviewer, “a living theater of sound and light.” A landmark recording in the history of electronic tape music and an engrossing artifact of proto-psychedelia, Highlights Of Vortex gathers recordings designed for the Vortex system by Jacobs and collaborators David Talcott, William Loughborough, and Gordon Longfellow. Source material including free improvisation, field recording, classical Indian instrumentation, West African polyrhythms and musique concrète is transmogrified through tape manipulation, atomizing swathes of reverb and delay, and other live and recorded effects, making dramatic use of the monumental Vortex soundsystem. An unprecedented marriage of image and sound, Vortex Experiments exercised immeasurable impact on the imagination and practice of countless experimental visual and sonic artists so this album is a must for fans of such visionaries as Stan Brakhage, Tony Conrad, and Jack Smith. Limited edition of 500 numbered copies on clear vinyl.

Tracks

1. David Talcott ? Trilogy
2. Henry Jacobs ? Chan
3. William Loughborough ?
For The Big Horn
4. Henry Jacobs ? Logos
5. Henry Jacobs ? Rhythm Study #8
6. Gordon Longfellow ?
Notes On The History Of A World, Part 3
7. David Talcott ? Loop Number 3
8. Henry Jacobs ?
Electronic Kabuki Mambo
9. Gordon Longfellow ? 350-2

Press

Originally released in 1959 on
Folkways Records

Audio & Video