Michael Muennich, Michael Esposito, GX Jupitter-Larsen – “The Wraiths of Flying A” CD

Firework Edition Records [FER1102] – 300 copies – available November 2012

Tracks:

01: The Green Room (Muennich/Esposito)
02: Interlude (Muennich ft. Esposito)
03: Heimsuchung (Muennich/Esposito/Jupitter-Larsen)
04: Interlude (Esposito)
05: The Wraiths of Flying A (Muennich/Esposito)
06: Interlude (Muennich ft. Esposito)
07: The Haunting of Mary Miles Minter (Part one) (Esposito/Muennich)
08: Interlude (Muennich ft. Esposito)
09: Slithering (Muennich)
10: Interlude (Muennich ft. Esposito)
11: The Haunting of Mary Miles Minter (Part two) (Esposito)
12: Interlude (Esposito)
13: Stage Left (Esposito/Jupitter-Larsen)

Original field recordings/EVPs captured by Michael Esposito at American Film Studios, Santa Barbara, CA (PAW case file: PAW109), additional sounds recorded by Michael Muennich at Fragment Factory, Hamburg during 2011/2012, edited and processed by Michael Esposito, Michael Muennich and GX Jupitter-Larsen, Chicago / Hamburg / Los Angeles.

Mastered by Phil Julian, London in September 2012.

Artwork by Philip Marshall, Berlin in May 2012.

idwalfisher.blogspot.co.uk/2013/04/muennichespositojupitter-larsen-wraiths

Recent Errors

“Recent Errors” reviewed by Raymond Cummings at Splice Today:

“…An expanding, high-frequency modulation follows that’s a couple decibels shy of that room-aggravating squeal a microphone makes when somebody touches or adjusts it in just the wrong way; further on, robotic cicadas flirt desperately and noise entropy static-cling creeps down from your headphones to your clothes and a dial tone gazes balefully back at you. Strategic near-silences abound. There’s a winsome sublimity to “Errors” which has had me coming back for more and more since discovering the track some months back, and while nothing in this series of humming miniatures sounds like a mistake to these ears, I suspect that Julian’s happy not to revisit it as often as I do.”

hands_reduxxeee

“Hands Redux” CDr – reworked/ruined/improved version of Shit Hands “What Did My Toyboy Really Think Of Me?” cassette in an ambitious edition of 10 copies, each with unique and highly informative Cheshire-centric neofluxus artwork.

Talk to Beartown Records.

Steve Cammack takes a listen and demands a repress.

transcript

A review of “Transcript” by Frans de Waard is now online in Vital Weekly 824

“For a long time best known as Cheapmachines, Phil Julian now works, from time to time, under his own name, and while I am not sure what makes the difference, his output has always been quite diverse. From noise to ambient to electro-acoustic and anything that might make a cross-over between all of that. Here he returns to lo-fi sound sources: blank cassette tapes (bulk erased, endless loop, vintage, new), cassette decks (stereo, mono), personal stereo and dictaphones and the music is recorded with cassette recorder, telephone induction cells, close-range VLF detector, piezo & pvdf film tab contact microphones. ‘Transcript’ has two parts and it makes up quite a minimal set of works, hissy, scratchy but also spacious and mildly noise based. An excellent choice, I’d say, to put these works out on cassette, and unlike some others of this week, the overall sound quality is very good. Julian knows how to construct his sound pieces to keep them both minimal yet interesting and works along the lines of Howard Stelzer in that respect, but also Joe Colley and Jason Zeh as an influence is never far away. Excellent cassette all around.”

Phil Julian "Transcript"

Phil Julian “Transcript” is now available from Obsolete Units.

“Under both the Cheapmachines alias and his own name, England’s Phil Julian has been venturing across various strains of unorthodox sound over the past decade or so, with his prolific output encompassing sonic textures that run the gamut from harsh squalls of decaying cacophony to humming spectral tapestries of melodic drone to patiently constructed compositions of hyper-minimalistic timbres. On Transcript, Julian sources tones and reverberation from blank cassettes as well as the actual cassette decks used in this particular process. Allowing the hissing, fuzzy, and clicking mechanics at work in this aural realm to traverse effortlessly across a half hour of ethereal space, Transcript stands as a remarkable work of foreboding and atonal constitution that stands confidently alongside the best works of similarly inclined sound sculptors such as Francisco Lopez and Joe Colley. This is warmly eerie listening that sounds especially exquisite coming from a cassette itself.”

Pro-dubbed/pro-printed C-30 in an edition of 100.  $7 each

All correspondence: paul at obsoleteunits dot com

Sound sources:
Blank cassette tapes (bulk erased, endless loop, vintage, new)
Cassette decks (mono & stereo)
Personal stereo
Dictaphones

Recorded with:
Cassette recorder
Telephone induction coils
Close-range VLF detector
Piezo & PVDF film tab contact microphones

Recorded throughout 2009/10
Final mix and edit 2011

Review by Steve Cammack here.

Antinomia II

A couple of recent reviews of The New Blockaders “Antinomia II” 7″ on Dot Dot Dot Music:

‘Veteran noise hooligans wade in with a typically abrasive double dose of their Luigi Russolo-inspired ‘antimusic.’ Throwing an avalanche of spanners into colliding industrial cogs, they shriek like gigantic metallic babies cramped with an outbreak of chromium colic. Scant respite comes in the guise of gusseted gear failure and some timid woodland fur, but by then the damage is done. Quite where part one disappeared to, well, your guess is as good as mine.’

Thanks to Spencer Grady at Record Collector (Jan 2012).

‘The New Blockaders were the original gangstas of Noise music back in the early ‘80s and they are still the Picassos. Always fascinating to listen to, never smacks of the gory postmodern motifs of new wave of tape-culture noise, yet manages to hit harder and scarier. The Blockaders are the Shakespeare of Noise, everyone else is just jockeying for the top slot in the maddening crowd outside the palace walls.’

Brady W. Hunt’s Top 8 of 2011 at Inkdeath.

Uzusounds favorite releases of 2011:

Thomas Lehn / Marcus Schmickler “Live Double Séance”
R/S “USA”
Valerio Tricoli/Thomas Ankersmit “Forma II”
Mimeo “Wigry”
Tim Blechmann “Timbre”
Noish “Eetz”
Phil Julian “Location +”
Francisco Meirino & Jason Kahn “Music for an Empty Cinema”
Russell Haswell “Acid N0!se Synthesis”
Kelly Churko “Atrophy of the instant”
Yousuke Fuyama Yousuke “Untitled”
Haswell & Hecker “Kanal Gendyn”
Mark Fell “Periodic Orbits Of A Dynamic System Related To A Knot”
Mohammad “Spiriti”
Esther Venrooy “Vessel”

Compiled by Aurelien @ Uzusounds