Hvizdalek / Moe / Skaset / Tavil // Juxtaposition II (Blitzopposition) TAPE

Hvizdalek / Moe / Skaset / Tavil // Juxtaposition II (Blitzopposition) TAPE

¥1,740

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ノルウェー・オスロの即興演者4名が、2020年にロシア／イタリアの実験レーベルSchool of the Artsからリリースしたカセットです。

Naked Cityを彷彿とさせるフリーフォーク7曲を収録。DLコード付属。

School of the Arts の作品はこちら /// Click here to see more School of the Arts releases available at Tobira.

-----------------------

A turbulent quartet of Oslo-based improvisers brings the house down with two voices, bass, guitar, and drums ⏤ RIYL free voice, skronk, jazz negativity, dub effects, Naked City and Painkiller.

Vocalist Agnes Hvizdalek delivers a unique form of glossolalia (think Monk, Eye, and animal sounds) backed up by noise-rock-influenced axe-grinders from the band MoE: Guro Skumsnes Moe herself on electric bass and voice and Håvard Skaset on guitar. Utku Tavil punctuates the madness with fierce drums and abrasive noisenik electronics. There is some studio trickery at play, too: strange cuts and edits, slapback echoes in the classic, much-loved here at School of the Arts dub fashion.

Juxtaposition II follows the earlier tape/CD on Norway’s Nakama Records, but if the first volume was subdued and nuanced, part two is quite the opposite at times: it’s a party, it’s a feast, but also a massacre. As the band themselves put it: “Laughter Slaughter.”

artist : Hvizdalek / Moe / Skaset / Tavil

label : School of the Arts

ノルウェー・オスロの即興演者4名が、2020年にロシア／イタリアの実験レーベルSchool of the Artsからリリースしたカセットです。

Naked Cityを彷彿とさせるフリーフォーク7曲を収録。DLコード付属。

School of the Arts の作品はこちら /// Click here to see more School of the Arts releases available at Tobira.

-----------------------

artist : Hvizdalek / Moe / Skaset / Tavil

label : School of the Arts

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アメリカ・フロリダのコールドウェーブ作家Amorous Sickness aka Opus Finis aka The Siamese Pearlが、2024年11月に同国実験レーベルVirtuesからリリースしたレコードです。終始不穏な空気が充満するノイズまみれのコールドウェーブ〜ミニマルシンセ9曲を収録。レコードのみでの発表となります。以下、レーベルによる解説です。 "エレクトリック・ニヒリズム躁的な人間嫌い！濃密なアナログ・シンセサイザー、催眠術のようなドラム・パターン、そして実存的な欲望を訴える荒涼としたヴォーカルが織り成すAmorous...

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It's an interaction and synthesis of acoustic and electronic expressions, exploring an imagined territory between two otherwise separate cultural worlds.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOn 'Teratai Åkande' the Copenhagen-based producer and electronic musician Anton Friisgaard travels new paths, as he explores gamelan music from his own artistic perspective in close collaboration with Balinese musicians, afliated with Ubud’s acclaimed Gamelan scene.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAfter experiencing a concert with the Gamelan ensemble 'Gamelan Salukat' at Roskilde Festival in 2018, Friisgaard became inspired to contact Dewa Alit from the ensemble. With the aim of bringing forth a unique expression through the meeting of two distinct musical traditions, Friisgaard traveled to Ubud, Bali to record, compose and improvise in close collaboration with artists from the esteemed Gamelan scene in Ubud. The result is 'Teratai Åkande', which features Pande Made Gangga Sentana, I Nyoman Suwida, Dewa Badukz, Suryana Putra and Pande Made Gangga of Gamelan Salukat.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAnton Friisgaard (fka Hviledag) is an electronic producer and musician based in Copenhagen. Known primarily for his experimental work with tape loops and ambient soundscapes, he’s become an established figure both in the Danish music scene as well as internationally.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Anton Friisgaard\u003c\/p\u003e\n\u003cp\u003eLabel : STROOM.tv\u003c\/p\u003e"}

スペイン・バルセロナのサイケデリック・ジャムトリオFuegoが、2024年10月に70本限定で自主リリースしたカセットです。コズミックなストレンジビーツ〜アンビエント4曲を収録。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ ------------------------------------------------- Ask us for digital files. Cassette in norelco case. Edition...

¥2,488

クイックビュー {"id":8666368868602,"title":"Mariam Rezaei \/\/ BOWN TAPE","handle":"mariam-rezaei-bown-tape","description":"\u003cp\u003eイギリスの実験DJ Mariam Rezaeiが、2023年9月にウガンダ・カンパリのレフトフィールド・ダンスレーベルNyege Nyege Tapes傘下Heat Crimesからリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003e巧みなターンテーブル捌きによるコラージュ・ジャズ〜ストレンジビーツ5曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2981004240\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=861035946\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/heatc\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/heatc\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/heatc\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/heatc\"\u003ehere\u003c\/a\u003e to see more Heat Crimes releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case. Edition of 90. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. HMMM 04:23\u003cbr\u003e2. GEORDIE SPICE (ft. Gwilly Edmondez) 05:51\u003cbr\u003e3. GLASS BASTARD (ft. Teresa Winter \u0026amp; Bobby Glew) 09:48\u003cbr\u003e4. it COULD be jazz (ft. Bobby Glew) 03:18\u003cbr\u003e5. BURNING LIKE FUCK 03:40\u003cbr\u003e6. MARIAMBA (ft. Lukas Koenig) 04:41\u003cbr\u003e7. IDIOTIS MUSIC PEOPLE CUNTS 01:38\u003cbr\u003e8. I WANT U 2 (ft. Alya-Al-Sultani) 04:32\u003cbr\u003e9. SHORTIE SHORTS 02:10\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eHeat Crimes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAward-winning composer, turntablist and performer Mariam Rezaei approaches turntablism with an openness that's not just progressive, it's surprisingly optimistic. On 'BOWN', the central part of a triptych alongside 'BLUD' and 'SKEEN' (both released on Graham Dunning's Fractal Meat Cuts imprint), Rezaei reconsiders the established logic of turntable-based music, blurring expectations and persistently reaching into the unknown. In her capable hands the decks become chameleonic, imitating an arsenal of instruments that she subsequently bends into uncanny forms. Rezaei sees turntablism as a continuum rather than a fixed style, and she invites a carefully picked crew of collaborators - Theresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez - to help distort genre hallmarks until they're completely unrecognizable; vocals become sputtering oscillators, drums are turned into walls of sheet noise and acidic electronics mutate into unstable, foggy drones.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRezaei started DJing when she was just 15 years old, developing her skills in the competitive and male-dominated hip-hop battle arena. She began to realize that even in this fast-paced environment, the turntable was too often used as a vehicle to exercise a sequence of customary tropes. Inspired by art from across the\u003cspan class=\"bcTruncateMore\"\u003e genre spectrum, she developed her own unique language with the instrument, bringing in ideas from free improv and extreme noise to extend her palette. So she doesn't ask a question on 'it COULD be jazz', but makes a statement, replying tersely to a colleague's barbed comment after a performance at London Jazz Festival last year. Transforming wild horn squeaks into time-stretched gasps and scrubbed, chattering voices, and garbling drums from Guttersnipe's Bobby Glue into ratcheting whirrs, she assures listeners that jazz too is far more than a predetermined set of aphorisms. \"How can I make the turntable sound as extreme as Roscoe Mitchell or Peter Brötzmann?\" she wondered during an interview with Wire magazine in April.\u003cbr\u003e\u003cbr\u003eYEAH YOU's Gwily Edmondez throws his self-styled \"wild pop\" vocalizations into Rezaei's continuum on 'GEORDIE SPICE', so she replies by juxtaposing his insectoid rasps with garbled West Asian chants and microscopic radio pop bleeps and beats. And traces of Grouper's vaporous articulations hang gently over unstable dancefloor vibrations on 'BURNING LIKE FUCK', situating the track a few steps from the club, outside in the smoking area or a nearby restroom. On 'I WANT U 2' meanwhile, Rezaei taps London-based soprano Alya Al-Sultani, scratching her operatic cries until they become chirps and cutting them into an abstracted conversation about the role of women in civilization. 'BOWN' is a confident, fervid statement from Rezaei that doesn't just burn up turntablism's presumed rulebook, it points a weary finger at an avant-garde landscape that still ignores the work countless women have put in to guide its progress. This is never more evident than on the tongue-in-cheek 'IDIOTIC MUSIC PEOPLE CUNTS', one-and-a-half minutes of garbled noise that throws a middle finger up to the industry, extending a warm embrace to the real ones.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Mariam Rezaei\u003c\/p\u003e\n\u003cp\u003eLabel : Heat Crimes\u003c\/p\u003e","published_at":"2024-11-21T07:47:25+09:00","created_at":"2024-11-16T15:43:06+09:00","vendor":"Tobira Records","type":"","tags":["heat crimes","jazz","monooto","new","strange beats","tape"],"price":213700,"price_min":213700,"price_max":213700,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":46864904454394,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Mariam Rezaei \/\/ BOWN TAPE","public_title":null,"options":["Default Title"],"price":213700,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282","\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_98e0e2fc-c9ae-4a31-a1c7-49c35da50ee2.jpg?v=1731739282"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282","options":["Title"],"media":[{"alt":null,"id":35195321712890,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282","width":700},{"alt":null,"id":35195321745658,"position":2,"preview_image":{"aspect_ratio":0.865,"height":1200,"width":1038,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_98e0e2fc-c9ae-4a31-a1c7-49c35da50ee2.jpg?v=1731739282"},"aspect_ratio":0.865,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_98e0e2fc-c9ae-4a31-a1c7-49c35da50ee2.jpg?v=1731739282","width":1038}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスの実験DJ Mariam Rezaeiが、2023年9月にウガンダ・カンパリのレフトフィールド・ダンスレーベルNyege Nyege Tapes傘下Heat Crimesからリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003e巧みなターンテーブル捌きによるコラージュ・ジャズ〜ストレンジビーツ5曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2981004240\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=861035946\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/heatc\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/heatc\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/heatc\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/heatc\"\u003ehere\u003c\/a\u003e to see more Heat Crimes releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case. Edition of 90. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. HMMM 04:23\u003cbr\u003e2. GEORDIE SPICE (ft. Gwilly Edmondez) 05:51\u003cbr\u003e3. GLASS BASTARD (ft. Teresa Winter \u0026amp; Bobby Glew) 09:48\u003cbr\u003e4. it COULD be jazz (ft. Bobby Glew) 03:18\u003cbr\u003e5. BURNING LIKE FUCK 03:40\u003cbr\u003e6. MARIAMBA (ft. Lukas Koenig) 04:41\u003cbr\u003e7. IDIOTIS MUSIC PEOPLE CUNTS 01:38\u003cbr\u003e8. I WANT U 2 (ft. Alya-Al-Sultani) 04:32\u003cbr\u003e9. SHORTIE SHORTS 02:10\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eHeat Crimes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAward-winning composer, turntablist and performer Mariam Rezaei approaches turntablism with an openness that's not just progressive, it's surprisingly optimistic. On 'BOWN', the central part of a triptych alongside 'BLUD' and 'SKEEN' (both released on Graham Dunning's Fractal Meat Cuts imprint), Rezaei reconsiders the established logic of turntable-based music, blurring expectations and persistently reaching into the unknown. In her capable hands the decks become chameleonic, imitating an arsenal of instruments that she subsequently bends into uncanny forms. Rezaei sees turntablism as a continuum rather than a fixed style, and she invites a carefully picked crew of collaborators - Theresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez - to help distort genre hallmarks until they're completely unrecognizable; vocals become sputtering oscillators, drums are turned into walls of sheet noise and acidic electronics mutate into unstable, foggy drones.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRezaei started DJing when she was just 15 years old, developing her skills in the competitive and male-dominated hip-hop battle arena. She began to realize that even in this fast-paced environment, the turntable was too often used as a vehicle to exercise a sequence of customary tropes. Inspired by art from across the\u003cspan class=\"bcTruncateMore\"\u003e genre spectrum, she developed her own unique language with the instrument, bringing in ideas from free improv and extreme noise to extend her palette. So she doesn't ask a question on 'it COULD be jazz', but makes a statement, replying tersely to a colleague's barbed comment after a performance at London Jazz Festival last year. Transforming wild horn squeaks into time-stretched gasps and scrubbed, chattering voices, and garbling drums from Guttersnipe's Bobby Glue into ratcheting whirrs, she assures listeners that jazz too is far more than a predetermined set of aphorisms. \"How can I make the turntable sound as extreme as Roscoe Mitchell or Peter Brötzmann?\" she wondered during an interview with Wire magazine in April.\u003cbr\u003e\u003cbr\u003eYEAH YOU's Gwily Edmondez throws his self-styled \"wild pop\" vocalizations into Rezaei's continuum on 'GEORDIE SPICE', so she replies by juxtaposing his insectoid rasps with garbled West Asian chants and microscopic radio pop bleeps and beats. And traces of Grouper's vaporous articulations hang gently over unstable dancefloor vibrations on 'BURNING LIKE FUCK', situating the track a few steps from the club, outside in the smoking area or a nearby restroom. On 'I WANT U 2' meanwhile, Rezaei taps London-based soprano Alya Al-Sultani, scratching her operatic cries until they become chirps and cutting them into an abstracted conversation about the role of women in civilization. 'BOWN' is a confident, fervid statement from Rezaei that doesn't just burn up turntablism's presumed rulebook, it points a weary finger at an avant-garde landscape that still ignores the work countless women have put in to guide its progress. This is never more evident than on the tongue-in-cheek 'IDIOTIC MUSIC PEOPLE CUNTS', one-and-a-half minutes of garbled noise that throws a middle finger up to the industry, extending a warm embrace to the real ones.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Mariam Rezaei\u003c\/p\u003e\n\u003cp\u003eLabel : Heat Crimes\u003c\/p\u003e"}