distributor product sheet

ARTIST : O.R.K. T ITLE : SOUL OF AN OCTOPUS FORMATS : SINGLE CD / LP (180GMS) CAT NO: : RNR075 (CD) / RNR075LP (LP) BARCODES : 5060197761134 (CD) / 5060197761141 (LP)

RELEASE DATES : FEBRUARY 24TH 2017

MUSICIANS: LORENZO ESPOSITO FORNASARI : VOCALS, KEYS, ELECTRONICS

CARMELO PIPITONE : ACOUSTIC AND ELECTRIC GUITARS

COLIN EDWIN : FRETTED AND FRETLESS BASS

PAT MASTELOTTO : ACOUSTIC & ELECTRONIC DRUMS & PERCUSSION FOR FANS OF: KING CRIMSON, PORCUPINE TREE GENRES: PROGRESSIVE ROCK TRACKLIST (CD) :

1. Too Numb 2. Collapsing Hopes 3. Searching For The Code 4. Dirty Rain 5. Scarlet Water 6. Heaven Proof House 7. Just Another Bad Day 8. Capture or Reveal 9. Ti l l The Sunrise Comes

TRACKLIST (LP) :

A1 Too Numb A2 Col lapsing Hopes A3 Searching For The Code A4 Dirty Rain B1 Scarlet Water B2 Heaven Proof House B3 Just Another Bad Day B4 Capture or Reveal B5 Ti l l The Sunrise Comes

BLURB Fol lowing on the heels of 2015’s capt ivat ing Inf lamed Rides , the members of the powerful col lect ive O.R.k. — lead singer Lorenzo Esposito Fornasar i , Porcupine Tree bassist Col in Edwin, Marta Sui Tubi guitar ist Carmelo Peptone and King Crimson drummer Pat Mastelotto — were pr imed to del iver an even more potent statement for their sophomore offer ing. Coming off of a tr iumphant tour of Europe and South America, they were charged to take things up a notch. And so i t was with Soul of an Octopus , their second recording and RareNoise debut. This one f inds the four k indred spir i ts deal ing in even deeper waters. “After Inf lamed Rides we did around 30 shows in Europe, Argent ina, Chi le and Mexico this year,” says Fornasar i . “That def in i te ly helped us to reign in our sound and get to a more focused mutual v is ion. So al l the pieces from the new album represent an honest and effect ive picture of who we are as O.R.k. r ight now. That said, people who have l istened to the new stuff - included our booking agents - th ink this is at least four t imes more powerful and intense than Inf lamed Rides .” Because of the presence of drummer Mastelotto, i t would be easy to draw comparisons to King Crimson for th is project. (The opener “Too Numb” in part icular has a kind of Discipl ine v ibe in i ts inter locking ost inatos that create a hypnot ic latt icework pattern against Fornasar i ’s menacing vocals). One can also hear traces of such art ist ical ly incl ined groups as Pink Floyd in ambit ious tunes l ike “Scar let Water,” “Just Another Bad Day” and the extraordinary “Capture or Reveal.” But O.R. l. draws on a myr iad of other inf luences throughout Soul of an Octopus that encompass prog-rock, f ree jazz and even bits of opera, as can be heard in Fornasar i ’s dramatic and wide-ranging vocals on tunes l ike the intense closer “Ti l l the Sunr ise Comes” and the epic 40-minute suite “Dir ty Rain.” Says the nat ive of Bologna, I ta ly, “ I got a degree as opera singer, but when i t comes to my music I t ry to forget what I 've been taught. When I f ind myself working on new mater ia l I prefer to improvise and sing without th inking what to do or where to head to, at least that 's what I do in f i rst place.” On the extreme opposite end of the dynamic scale from the operat ive sweep that he del ivers throughout Soul of an Octopus , Fornasar i takes a more int imate, close-mic approach at the outset of the poet ic “Heaven Proof House,” recal l ing the enigmatic whisper vocals of the late Leonard Cohen. “Since I th ink at myself as a composer and producer f i rst and then as vocal ist, I get my brain to rethink the whole structure and l isten to my vocals

as a producer would do,” he explains. “ I tend to give my vocals the same importance I 'd give to any of the other instruments composing the whole structure.” Innovat ive I ta l ian guitar ist Pipi tone is prominent ly featured on “Col lapsing Heroes,” which opens with some gutbucket acoust ic blues guitar and gradual ly bui lds to a slamming wah-wah fueled six-str ing onslaught. Says Fornasar i of his O.R.k. bandmate, “Carmelo has received mult ip le awards f rom music I ta l ian cr i t ics because of the way he plays acoust ic guitar. He makes his str ings bark and scream l ike the most ferocious electr ic piece of guitar and a second later he makes you cry with the most intense clean arpeggio. The very f i rst t ime I 've seen him playing with his other band Marta Sui Tubi — they’re quite famous in I ta ly — I thought, ‘Hey! I want to make some noise with this crazy horse!’ And here we are.” Fornasar i further descr ibes the process that he and his O.R.k. bandmates took on this RareNoise release: “We usual ly start the process from guitar or bass r i f fs, I assemble a rough structure and send i t over to the other guys. This col laborat ive back-and-forth process across the mi les is very effect ive in our case. Nonetheless, i t usual ly takes weeks or even months before a piece gets to i ts f inal shape. We don't fo l low any pre-def ined plan though. One of the most intr iguing elements in music is the most unpredictable too — once you release new stuff you never know how people wi l l react and interpret your sound and words.” Whi le Fornasar i has also been involved in other projects for RareNoise Records (he was on Owls’ 2011 release, The Night Stays , Berserk’s sel f-t i t led 2013 debut and Obake’s 2015 release Mutat ions) , he considers O.R.k. to be the focus of his art ist ic endeavors r ight now. “ I love Berserk! and Owls but I see them as col laborat ive side projects whi le O.R.k. is actual ly my main band. I t ’s the one which best represents my vis ion in music and the one I 'm dedicat ing most of my of t ime and energy to.” Fornasar i c lear ly poured his heart and soul and al l of his energy in this band. I f you can’t catch O.R.k. in act ion l ive, check out their imposing sophomore release, Soul of an Octopus , which stands as one of the more intensely compel l ing recordings in the RareNoise roster. FOR INFORMATION : [email protected]

************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/ork-soul-of-an-octopus/s-8OyKZ **************************************

ARTIST : REFLECTIONS IN COSMO TITLE : REFLECTIONS IN COSMO FORMATS : SINGLE CD / LP (180GMS) CAT NO: : RNR073 (CD) / RNR073LP (LP) BARCODES : 5060197761103 (CD) / 5060197761110 (LP)

RELEASE DATES : JANUARY 20TH 2017

MUSICIANS: KJETIL MØSTER - SAXOPHONES HANS MAGNUS RYAN - GUITAR STÅLE STØRLOKKEN - KEYBOARDS THOMAS STRØNEN – DRUMS FOR FANS OF: ELEPHANT9, SUPERSILENT, HUMCRUSH, MOTORPSYCHO GENRES: ROCK-JAZZ, METAL, PSYCHEDELIA TRACKLIST (CD) :

1. Cosmosis 2. I ronhorse 3. Cosmic Hymn 4. Balklava 5. Perpetuum Immobi le 6. Fuzzstew 7. Reflect ions In Cosmo

TRACKLIST (LP) :

A1 Cosmosis A2 Ironhorse A3 Cosmic Hymn A4 Balklava B1 Perpetuum Immobi le B2 Fuzzstew B3 Ref lect ions In Cosmo

BLURB The f i re and fury of ‘60s free jazz and the tumult of electronic rock-t inged exper imental music is on ful l d isplay on this new powerhouse offer ing from four cutt ing edge Oslo-based musicians col lect ively known as Ref lect ion in Cosmo. With Kjet i l Moster on saxes, Hans Magnus Ryan on guitar, Stale Stor lokken on keyboards and Thomas Stronen on drums, these four k indred spir i ts str ike a tumultuous accord on their sel f-t i t led debut on RareNoise Records, which represents Moster’s fol lowup on RareNoise to his edgy avant-jazz col laborat ion in 2014 with the Hungar ian power tr io Ju. At t imes recal l ing the ferocious intensity of the late ‘80s free jazz quartet Last Exit (Peter Brotzman, Sonny Sharrock, Bi l l Lawel l , Ronald Shannon Jackson), th is potent

Norwegian outf i t pushes the envelope with Moster’s blowtorch intensity on bar i tone and tenor saxes, Ryan’s wai l ing electr ic guitar work, Stor lokken’s crunchy, distort ion-laced keyboards and Stronen’s thunderous drumming. “This band was in i t iated by Thomas and Ståle,” explains Moster. “They have been releasing albums on Rune Grammofon under the name Humcrush for 15 years and they wanted to try out an expanded direct ion, both in terms of band members and references. They asked me and Hans Magnus ‘Snah’ Ryan from Motorpsycho, actual ly not being aware of the fact that Hans Magnus just took over for Ståle in my own quartet Møster! Yes, i t ’s a smal l inbred world, th is.” This smal l wor ld that Moster refers to is the world of genre-crossing musicians operat ing in the twi l ight zone between exper imental e lectr ic jazz, noise rock and psych rock. As Moster says, “ Instead of the jazz-rock we had in the 70’s and 80’s, maybe we now can talk of rock-jazz? Jü would def in i te ly be a part of th is fe l lowship, as would Elephant9 and Møster!” Add Ref lect ion in Cosmo to that l ist. And whether or not they are fol lowing in the footsteps of Last Exit , Moster is quick to point out, “Any comparison to Brötzmann I take as a big compl iment! He has def in i te ly been a huge inf luence on me for big per iods of my musical upbr inging. Last Exit is sure r inging in the back of my head in this band, even though we have not been discussing expl ic i t references l ike that. We al l br ing in our own musical backgrounds and add i t to the stew.” Recorded in spacious Øra Studio in in Trondheim, Norway, Reflect ion in Cosmo reveals some uncanny group-think by these four Norwegian musicians. “ I don’t l ike rules in music,” says Stronen, “and with the background we al l have, f rom free-music to hip-hop and contemporary music, that ’s not going to be an issue.” Moster does br ing a Brotxzman-l ike intensity to bear on his bar i blowouts l ike “Fuzzstew,” “Cosmosis” and the kinet ic “Perpetual Immobi le.” He switches to soprano sax on the spacious, ambient number “ I ronhorse” and blows bold tenor l ines on “Cosmic Hymn” and the t i t le track. Ryan unleashes his ferocious guitar chops on the apt ly-named “Fuzzstew” and “Balk lava.” Says Moster of his s ix-str ing partner, “Hans Magnus is one of my favor i te guitar ists of a l l t ime. His sense of texture and abi l i ty to bui ld tension and raise this hel lacious ferocity is quite unique. I th ink i t comes from playing for about 30 years with Motorpsycho, thus rooted in a heavy but detai led rock aesthet ic, but st i l l been deeply into a broad var iety of improvisat ional sty les. ’ Drummer Stronen is featured traversing the ki t with power and precis ion on the crushing t i t le track. Regarding his own drum inf luences, Stronen points to myr iad inspirat ions. “As a kid I was lucky to play a lot with older and better musicians. The f i rst th ing I learned was to l isten to the other musicians and

react to what they did. I p layed everything from pop/rock music to free improvised music and got the chance to perform on stage quite ear ly. By the t ime I turned 18, I started to pract ice ser iously. Since then I ’ve been inf luenced by lots of jazz music, f rom Pharaoh Sanders, Mi les Davis and John Coltrane to lots of European musicians on ECM Records. For a longer t ime, I was massively into Japanese classical music, West Afr ican Wolof music and American minimal ist composers. Drumming-wise, I ’ve picked from the history of jazz, Japanese drum ensembles and classical drummers. Ult imately, i t doesn’t matter what you dig into as long as you dig. I t ’s a long and thorough process of col lect ing what’s great about what you hear and putt ing that in the big melt ing pot, and with a large vocabulary you can put what’s needed into the music.” Their combinat ion of refreshing new ideas, uninhibi ted improvisat ions and heavy-duty, throbbing intensity places Ref lect ion in Cosmo in raref ied air. “The main key to the four of us, I th ink, is that we´re open minded and don’t have a presumption of how to play,” adds Stronen. “ I f ind Snah, Kjet i l and Ståle to be dar ing, cur ious and generous in the way they play. Our agenda is to put the music in f ront and not some solo performance. The instruments and way of playing blends wel l , I th ink. We al l have a lot of energy too, which can make the music powerful.” FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/ref lect ions-in-cosmo/s-eqp7q **************************************

ARTIST : LED BIB T ITLE : UMBRELLA WEATHER FORMATS : SINGLE CD / DOUBLE LP (2X180GMS) CAT NO: : RNR069 (CD) / RNR069LP (LP) BARCODES : 5060197761066 (CD) / 5060197761073 (LP)

RELEASE DATES : NOVEMBER 20TH 2017

MUSICIANS: MARK HOLUB : DRUMS PETE GROGAN : ALTO SAXOPHONE CHRIS WILLIAMS : ALTO SAXOPHONE LIRAN DONIN : BASS TOBY MCLAREN : KEYBOARDS FOR FANS OF: JAZZ-ROCK GENRES: AMBIENT, INDIAN MUSIC, ELECTRONICS TRACKLIST (CD) :

1. Lobster Terror 2. Ceasef i re 3. On The Roundabout 4. Fields Of Forgetfulness 5. Too Many Cooks 6. Women’s Power 7. Insect Invasion 8. At The Shopping Centre 9. Skeleton Key To The City 10. The Boot 11. Marching Orders 12. Goodbye

TRACKLIST (LP) :

A1 Lobster Terror A2 Ceasef i re A3 On The Roundabout B1 Fields Of Forgetfulness B2 Too Many Cooks B3 Women’s Power B4 Insect Invasion C1 At The Shopping Centre C2 Skeleton Key To The City D1 The Boot D2 Marching Orders D3 Goodbye

BLURB Easi ly the most adventurous and audacious outf i t on today’s UK jazz scene, Led Bib has bui l t a reputat ion over the course of seven albums for expansive improvisat ions and treks into genre-defying music of throbbing intensity. Al l Music Guide cal led their s ingular brand of jazz “explosive enough to blow up your speakers” whi le The Wire weighed in with: “This is the sound of a band having fun... l ike a hot chainsaw through butter.” For their RareNoise Records debut, the f ive-piece group from London cont inues pushing the envelope on Umbrel la Weather. Fueled by the muscular drumming of r ingleader Mark Holub and the intense fuzz bass l ines of Liran Donin, further tweaked by atmospher ic washes and crunchy keyboard act ion from Toby McLaren and sparked by the pungent twin al to saxes of Peter Grogan and Chris Wi l l iams, Led Bib stakes out a unique spot in the musical terra in that fa l ls somewhere between the realms of John Zorn, Ornette Coleman, Char les Mingus and Er ic Dolphy, al l imbued with a very strong jazz-rock sensit iv i ty. From the odd-metered opener “Lobster Terror” to their raucous textures on “Too Many Cooks,” f rom the fuzz- inf lected mayhem of “Skeleton Key to the City” to the turbulent “At The Shopping Centre,” the expansive 5-minute ambient jam on “ Insect Invasion” and the surpr is ingly lyr ical waltz-t ime closer “Goodbye,” th is renegade outf i t never fa i ls to in ject an element of surpr ise into each potent track. And whi le certa in pieces l ike “Ceasef i re”, “The Boot” or the groove-heavy “Women’s Power” may seem l ike wel l-crafted and t ight ly executed composit ions, Holub explains that most of the music heard on Umbrel la Weather comes about organical ly in the studio through a keen sense of col lect ive intui t ion honed over the past 13 years of playing together. “ In general, very l i t t le is wr i t ten. We are most ly working in a typical jazz sty le of head-solos-head but in almost every tune the solos are completely open. This concept of f ree improvisat ion is a tr icky one because i t has become a genre al l i ts own, but we are looking at i t in a di f ferent way. With some of the tunes, we are sort of composing in the moment, rather than the sort of f ree associat ion that is often thought of as free-improvisat ion. Led Bib formed in 2003 as Holub’s Master’s degree project at Middlesex Universi ty. “We went through quite a few dif ferent people at the very beginning, but by the t ime of our f i rst re lease in 2005 (Arboretum, SLAM Product ions) the l ine up was set and hasn't changed since,” he explains.

Holub runs down the backgrounds of his Led Bib col leagues: “Chr is Wi l l iams is perhaps the most involved in the ' jazz' scene of a l l of us, though this is def in i te ly more on the contemporary side. He is a founding member of Let Spin, a key member of Laura Cole’s Metamorphic. L i ran Donin works a lot as a producer outside of Led Bib working both in Jazz, but also in the realms of Pop and World Music, most notably recent ly with Namvula Rennie, Mulatu Astatke, Arun Ghosh and Chrissie Hynde. Toby McLaren is working as a producer, most ly in the rock world. He also plays keyboards for The Heavy, a sort of soul rock band that does quite wel l in the USA. He seems to be over there al l the t ime these days! F inal ly, Pete Grogan plays with the Alex Horne and the Horne Sect ion, The Brothers Ignat ius, The Heavy, whi le doing session work with Ed Sheeran and scor ing and arranging music for a Roald Dahl f i lm wel l as playing lots of sessions in that genre.” Holub’s own penchant for playing rock inf luenced jazz, or v ice versa, came about over t ime. As he explains, “When I f i rst started playing jazz, I was coming more from the sort of jam band/exper imental rock stuff . . . . Grateful Dead, Frank Zappa, Captain Beefheart. And then I got more into the free jazz of the ‘60s, part icular ly Ornette Coleman, but also Er ic Dolphy, Char les Mingus and Mi les Davis. The two-alto front l ine of Grogan and Wil l iams is perhaps the dist inguishing character ist ic of th is punk-edged jazz group. “The idea came about just by chance,” says Holub. “Someone suggested another al to player and I thought, ‘Hey, two altos! That could work! ’ I th ink I l iked the sort of 'ugly beauty' of that combo. There is something harsh about having the two altos together, which is great for when the music is heavy. But also, there is something almost bit tersweet about the crashing of t imbres between the two of them in the quieter moments Since i ts incept ion 13 years ago, this forward-looking jazz unit has evolved to the control led cacophony and ‘ugly beauty’ that we hear on Umbrel la Weather. “Over t ime I th ink Led Bib has moved quite far away from my or ig inal v is ion,” says Holub. “ I t has become very much a group project with i t being as much inf luenced by the other guys’ interests, but I am st i l l steer ing the ship. To me, that is what has made Led Bib special, that the sound has been a natural

evolut ion, which has natural ly taken on everyone's ideas and inf luences rather than something which has been pre-determined to sound in a specif ic way.” FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/ led-bib-umbrel la-weather/s-WRXkJ **************************************

ARTIST : ERALDO BERNOCCHI – PRAKASH SONTAKKE T ITLE : INVISIBLE STRINGS FORMATS : SINGLE CD / LP (180GMS) CAT NO: : RNR069 (CD) / RNR069LP (LP) BARCODES : 5060197761028 (CD) / 5060197761035 (LP)


MUSICIANS: ERALDO BERNOCCHI – BARITONE GUITARS, ELECTRIC

GUITARS, ELECTRONICS PRAKASH SONTAKKE : LAP STEEL GUITARS FOR FANS OF: TALVIN SINGH, SHAKTI, TRILOK GURTU GENRES: AMBIENT, INDIAN MUSIC, ELECTRONICS TRACKLIST (CD) :

1. The Last Emperor Walked Alone 2. Wil l You Stay 3. From Star To Star 4. The Invisible Ferry 5. Subl ime Skies 6. Bangalor Electr ic 7. Purple Yel low 8. Walking Backwards Again 9. The Unsaid

TRACKLIST (LP) : A1. The Last Emperor Walked Alone A2. Wil l You Stay A3. From Star To Star A4. The Invisible Ferry B1. Subl ime Skies B2. Bangalor Electr ic B3. Purple Yel low B4. Walking Backwards Again B5. The Unsaid

BLURB On his latest RareNoise Records release, the one-t ime I ta l ian punk guitar ist and current exper imental musician-producer-sound designer Eraldo Bernocchi jo ins Indian sl ide guitar master Prakash Sontakke for a rare encounter on the subl imely beaut i fu l Inv is ible Str ings. A melding of East and West, Bernocchi plays sparse guitar l ines behind the Hindustani lap steel v i r tuoso on this evocat ive col laborat ion between the two. From “The Last Emperor Walked Alone” to “Subl ime Skies,” “Bangalor Electr ic” and “The

Unsaid,” Bernocchi and Sontakke str ike an uncommon accord on this meet ing of the spir i ts. “The f i rst t ime I heard about Prakash was in a project with Eiv ind Arseet where he played guitar. His name popped out again from a journal ist who suggested I should do something with him because we could real ly get along. He actual ly was r ight. Prakash is such a sensible person, able to adapt to any sty le or sound environment. And he has an amazing way of mix ing Hindustani classical music with new technologies as wel l lap steel guitar.” In shaping a sonic environment for Prakash to play in, Bernocchi was mindful of lett ing things f low in the studio as the music took shape. “ I t 's di f f icul t for me to start with a sound concept,” he says, “as sound l ives by i tsel f and blooms according to what's surrounding i t . I was intr igued by the idea of working with another guitar player, especial ly one coming from a di f ferent tradit ion who was confront ing himself with a more western instrument. I have loved Indian and Asian music since I was a teenager and for me to work with someone so ski l led, so amazingly dynamic has been a kind of dream ful f i l led.” Bernocchi acknowledges that Br ian Eno’s 1983 ambient music project Apol lo (which ut i l ized lap steel guitar) was a seed for his own work on the Invis ible Str ings project. “ I own Apol lo on vinyl, CD and tape, “he says. “ I t is one of my favour i te records of a l l t ime. I t 's very l ikely that in a si lent way, when I had the chance to play with someone who eventual ly reminded me of those moments, my brain reacted to i t with a big smi le.” Add the fact that Prakash is Indian and Bernocchi professes a special love for that place and i ts music, and you have the makings of magical out ing. Bernocchi, who co-founded RareNoise Records in 2008 with Giacomo Bruzzo, has recorded with the bands Obake, Metal l ic Taste of Blood and Owls and also col laborated with minimal ist pianist-composer Harold Budd for the London-based label. For Invis ible Str ings, he saw his role as a guitar ist f rom a couple of di f ferent points of v iew. “The f i rst approach was creat ing atmospheres around Prakash’s guitar magic. I used a lot of pedals and I completely reshaped the sound of the guitar as we know i t ,” he explains. “On the record there are a lot of sounds that are made with guitar but they sound l ike from other instruments. I 've always been interested in using the guitar as a tool, as something that could create sounds out of space or nowhere. There are pads, drones, keys that are

coming from my guitars. I mainly used bar i tone guitars, especial ly a custom made aluminum one bui l t for me by Nude Guitars from Ita ly. They're amazing instruments with such a sustain that sometimes you think there's compression appl ied but i t 's just the aluminum neck dialoguing with the wood body. The second phase was duett ing with Prakash, creat ing something that could be a sort of dia logue. This was much more r isky as he is a such a ski l led player and so sensible that I was worr ied to spoi l the magic of his melodies. But I th ink in the end i t worked wel l and everything was natural.” Bernocchi explains the process of carving out the evocat ive soundscapes heard behind Sontakke throughout Invis ible Str ings. “Every track starts with a melody, a harmony, a loop of something I had in mind that I was sending to Prakash to record on. He was then sending me back his guitar parts or his ideas for melodies and harmonies, and from that point I was start ing to bui ld tracks. So every groove, beat, bass l ine or my guitar parts are always dialoguing with what he was sending me. Sometimes we reversed the process with me sending over themes, l ike on ‘The Unsaid’ for example. I t 's a t ime-consuming process, especial ly because I 'm a studio maniac and I 'm never sat isf ied. So ult imately i t took one and a hal f years of sessions to complete this project. “ I t is a very emotional a lbum,” Bernocchi cont inues, “as dur ing the process of composing and recording i t , we exchanged a lot of personal stor ies, impressions, memories. A lot of smal l stor ies surfaced dur ing the making of Invis ible Str ings -- some happy, some melanchol ic, some real ly sad. Prakash is one of those persons with whom I could ful ly open my heart to emotions. I can't wait to play l ive with him.” Invis ible Str ings, Bernocchi ’s most genuinely heart fe l t and str ik ingly evocat ive recording to date, wi l l be released on RareNoise Records in November.

FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/eraldo-bernocchi-prakash-sontakke-invis ible-str ings/s-AP2bf **************************************

ARTIST : BOBBY PREVITE T ITLE : MASS FORMATS : SINGLE CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR072 (CD) / RNR072LP (LP) BARCODES : 5060197761080 (CD) / 5060197761097 (LP)


Built upon a re-arrangement of the Missa Sancti Jacobi by Guillaume Dufay (1397-1474)

pipe organ music inspired by Olivier Messiaen (1908-1992)

THE ROSE ENSEMBLE

Conducted by Jordan Sramek

Eric Betthauser

John Bitterman

Heather Cogswell

Lisa Drew

Linda Kachelmeier

Kristine Kautzman

Kathy Lee

Tim O’Brien

Jordan Sramek

Kim Sueoka

Paul M. Tipton

1. INTROIT

Stephen O’Malley - guitars

Jamie Saft - guitars

Marco Benevento - pipe organ, Rheem organ

Reed Mathis - electric bass

Bobby Previte - drums, guitar, pipe organ, combo organ

2. KYRIE


Don McGreevy - guitars



Bobby Previte - drums

3. GLORIA






4. ALLELUIA





5. CREDO





Bobby Previte - drums, synthesizer bass

6. OFFERING

Mike Gamble - guitars

Stephen O’Malley - feedback solo



Bobby Previte – drums

7. SANCTUS





Bobby Previte - drums, pipe organ

8. AGNUS DEI



Bobby Previte – drums

9. COMMUNION


Marco Benevento - pipe organ, electronics

Bobby Previte - drums, Farfisa organ

BLURB As widely renowned for his unerr ing, intui t ive grooves behind the ki t as he is

for his invent iveness as a composer and bandleader, Bobby Previte stretches into some total ly new musical terra in on Mass , h is RareNoise debut as a leader and fol lowup to 2014’s cooperat ive tr io project The New Standard with bassist Steve Swal low and keyboardist Jamie Saft. A modernist re- imagining of the choral epic Missa Sanct i Jacobi by 15th century composer Gui l laume Dufay, Previte’s Mass prominent ly features the imposing sound of cathedral pipe organ along with an acclaimed ear ly music chamber vocal group, the 11-voice Rose Ensemble conducted by Jordan Sramek, and a slamming core group consist ing of Previte on drums, Marco Benevento on pipe organ and Rheem organ, Don McGreevy, Stephen O’Mal ley, Mike Gamble and Jamie Saft on electr ic guitars and Reed Mathis on electr ic bass. A kind of heavy metal requiem mass, fu l l of thrashing feedback guitars and gr inding power chords, hel lacious fuzz bass, thunderous beats and the glor ious sound of a Medieval vocal choir, Mass is unl ike anything Previte has done before in his extensive discography, which covers recordings by his bands Weather Clear Track Fast, Lat in for Travelers, The Coal i t ion of the Wil l ing, Bump and the Beta Popes. “ I 've been thinking about th is idea for at least 12 or 13 years now,” says thedrummer-composer. ’ ” In fact, I scored a version of i t in the ear ly 2000s that I toured Europe with. Then when when I got home, I decided i t wasn't r ight and threw i t a l l in the trash. I t wasn't powerful enough. So I went back to the drawing board.” Previte f i rst encountered composer Gui l laume Dufay in his Ear ly Music class in col lege. “You have to remember, when Dufay wrote his music i t was performed at a t ime in which there were no loud man-made sounds -- no ampl i f iers, a irplanes, bombs, etc. Performed in a hard-wal led stone church, the sound racing around the wal ls and bouncing off the cei l ing, i t had to have been anoverwhelming exper ience. Now it feels quiet, meditat ive, but in the context of i ts t ime I bel ieve i t was a powerful, soul-shaking, transport ive, otherworldly music. And I needed to match that power, so I had to go with Metal -- a revi led music that somehow st i l l keeps coming.” Previte and his wife, the wri ter and choreographer Andrea Kleine, presented the piece in 2007 as a fu l l-blown theater product ion at the Walker Art Center in Minneapol is. “She wrote the book and directed i t ,” he explains. “ I t was then that I met the Rose Ensemble. They special ize in Ear ly Music, which was essent ia l to me. I t 's a very di f ferent discipl ine than other vocal music. And for them to have the courage and the openness to do a project l ike this, where I asked them to sing in a di f ferent tempo, key and t ime signature whi le the crushing metal band was playing -- that was tru ly

inspir ing.” The players involved in Mass are old cohorts of Previte. Organist Benevento and bassist Reed played in his The Coal i t ion of the Wil l ing. Saft played in Previte’s Lat in for Travelers band and is also a key member of 2014‘s The New Standard on RareNoise. Guitar ist Gamble has been a longstanding col laborator and is also a member of Previte’s current working quartet, Bobby Previte and the Vis i tors. Guitar ists O'Mal ley and McGreevy are members of the Seatt le-based drone and doom metal bands Sunn O)) ) and Earth, respect ively. “O'Mal ley in part icular used a gigant ic wal l of amps in the studio,” says Previte. “ I f you want that sound, you can't use a l i t t le stomp box, you have to actual ly move al l that air . I t was exhi larat ing to watch.” Twelve years in the making, Mass is the culminat ion of a long road for Previte. “ I am super happy with how i t turned out, as i t is extremely di f f icult music to perform,” he says. “Each of the three pi l lars of the piece -- choir, metal t r io, and pipe organ -- are operat ing within their own algor i thms, their own keys, t ime and tempo. And the piece is wri t ten for them to be on paral le l t racks but making a di f ferent fourth thing, dovetai l ing together on the cadences. Eventual ly we al l began to be able to hear how i t a l l worked, what notes the choir should be singing when you, as the guitar ist, were on your th ird beat of your bar number 15, a 4/4 bar, at quarter note = 60, as they were in their 33rd bar of 6/8 in a completely di f ferent tempo. I t sounds crazy. Wel l , i t is crazy! But the design worked eventual ly, which is a testament to the musicians and their resi l ience.” Previte adds about his latest opus, “ I t has probably the greatest cover art I have ever had on any of my records. Astonishing work by, and al l respect to, the art ist, Hadi Nasir i . ” Check out Mass , Previte’s most audacious recording to date, on RareNoise Records. FOR INFORMATION : [email protected]

************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/bobby-previte-mass/s-hsJ6g **************************************

ARTIST : FREE NELSON MANDOOMJAZZ T ITLE : THE ORGAN GRINDER FORMATS : SINGLE CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR068 (CD) / RNR068LP (LP) BARCODES : 5060197761004 (CD) / 5060197761011 (LP)

RELEASE DATES : OCTOBER 21ST 2016

MUSICIANS: Rebecca Sneddon – saxophones Col in Stewart – electr ic bass Paul Archibald – drums and percussion (Piano on 5, Organ on 11) With the part ic ipat ion of Luc Klein – trumpet (2/5/6/9) Patr ick Darley – trombone (4/6) FOR FANS OF: ALBERT AYLER, BLACK SABBATH GENRES: FREE JAZZ, JAZZ, DOOM, STONER ROCK TRACKLIST (CD) :

1. Open The Gate 2. You Are Old, Father Wil l iam 3. Funambule 4. The Woods 5. Calcutta Cutie 6. LORA 7. Bicycle Day 8. Inferno Pt. 1 9. Shapeshif ter 10. Always Go Left In The Maze 11. Om

TRACKLIST (LP) : A1. Open The Gate A2. You Are Old, Father Wil l iam A3. Funambule B1. The Woods B2. Calcutta Cutie C1. LORA C2. Bicycle Day C3. Inferno Pt. 1 D1. Shapeshif ter D2. Always Go Left In The Maze D3. Om

BLURB With the release of 2013‘s double EP/The Shape of Doomjazz To Come/Saxophone Gigant icus, the renegade Scott ish tr io Free Nelson Mandoomjazz la id out i ts musical manifesto in bone-crunching terms and fol lowed up in 2014 with the equal ly potent Awakening of a Capita l. Both recordings showcased the Edinburgh-based musicians Col in Stewart (bass), Paul Archibald (drums) and Rebecca Sneddon (al to sax) in a provocat ive blend of doom metal and free jazz, inf luenced pr incipal ly by such art ists as Black Sabbath, Electr ic Wizard, Sun Ra, Sonny Rol l ins, Albert Ayler and Wayne Shorter. The band's sound has progressed with each new recording, and now with The Organ Grinder they take i t up a couple of notches. Whi le retain ing the same intensely throbbing core that is at the heart of Free Mandoomjazz music, the addit ion of t rumpeter Luc Klein and trombonist Patr ick Dar ley on a few tracks br ings new colors and textures to the proceedings. This is a bigger, bolder v is ion for the group without forsaking i ts punk-jazz essence. The band wi l l be tour ing China October 2016 after some dates in Scot land at the end of September 2016. November they wi l l be playing in Poland. FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/free-nelson-mandoomjazz-the-organ-gr inder/s-r8r36 **************************************

ARTIST : OBAKE T ITLE : DRAUGR FORMATS : SINGLE CD / SINGLE LP (180GMS) CAT NO: : RNR067 (CD) / RNR067LP (LP) BARCODES : 5060197760984 (CD) / 5060197760991 (LP)

RELEASE DATES : OCTOBER 28TH 2016

MUSICIANS: Eraldo Bernocchi – bar i tone guitars Lorenzo Esposito Fornasar i – voice, guitars, electronics Col in Edwin – electr ic bass Jacopo Pierazzuol i – drums FOR FANS OF: UFOMAMMUT, MORKOBOT, MASTODON GENRES: DOOM, GRINDCORE, AMBIENT, PROG-ROCK TRACKLIST (CD) :

1. Cold Facts 2. Incinerat ion Of Sorrows 3. Hel l faced 4. The Augur 5. Appeasing The Appari t ion 6. Serving The Al ibi 7. Cloud Of Liars 8. Immutable 9. Draugr 10. Draugr (Leon Switch Remix)

TRACKLIST (LP) : A1. Cold Facts A2. Incinerat ion Of Sorrows A3. Hel l faced A4. The Augur A5. Appeasing The Appari t ion B1. Serving The Al ibi B2. Cloud Of Liars B3. Immutable B4. Draugr

BLURB After re leasing their debut a lbum in 2011, the sel f- t i t led ‘Obake’ and the fo l low-up ‘Mutat ions’ in 2014 to widespread accla im of the Br i t ish and cont inental press, Obake are back with ‘Draugr’, which signals both a return to the or ig ins of the band and a pur i f icat ion of i ts sound.

This shi f t is immediately apparent in the choice of t i t le: whi le the

Japanese term Obake (お化け ) s igni f ies ‘ that which changes’ or

‘shapeshif ter ’ or more general ly ‘ghost of a departed’, now the chosen t i t le for the band’s th ird re lease, ‘Draugr’ is a term of indo-european or ig in which means ‘creature returning from the dead’. The compactness and formal cohesion of band and release name ref lect the newly found balance in the band, now featur ing their l ive drummer Jacopo Pierazzuol i (of Morkobot and Kings Of Fire fame), Col in Edwin on electr ic bass (member of Metal l ic Taste Of Blood with Eraldo Bernocchi and of o.R.k. with Lorenzo Esposito Fornasar i ) , Lorenzo Esposito Fornasar i on guitars and voice and Eraldo Bernocchi on guitars. The mult ip l ic i ty of col laborat ions between the members of Obake have enabled them to develop a compact and unique sound that is as extreme ( in i ts doom and grindcore roots) as i t is border less ( in depth explorat ions of ambient music accompanied by color ings of jazz , progressive rock and noise ) ; Obake’s sound br ings the l istener back to the roots of rock, a long the way drawing v i ta l lymph from Popol Vuh, AshRa Tempel , v ia Slayer, Sunn O)) ) , Melv ins and Coi l . Draugr wi l l avai lable in a l l formats, f rom October 28th 2016, and wi l l a lso feature a remix by renowned Br i t ish breakcore art ist Leon Switch. (on the CD and as DOWNLOAD for the VINYL). FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/obake-draugr/s-WEVCt **************************************

ARTIST : GAUDI T ITLE : EP FORMATS : 10” WHITE VINYL EP CAT NO: : RNR066LP BARCODES : 5060197760977

RELEASE DATES : JULY 22ND 2016

MUSICIANS: GAUDI : minimoog, korg, theremin, programming COLIN EDWIN/BILL LASWELL/LORENZO FELICIATI : bass TED PARSONS/STEVE JANSEN : drums ERALDO BERNOCCHI : guitars ALESSANDRO GWIS : piano MERZBOW : noise, power electronics BRIAN ALLEN : trombone COPPE’ : voice FOR FANS OF: GAUDI, YOUTH, APHEX TWIN, DEEP FOREST GENRES: ELECTRONICA, CHILLOUT, DANCEFLOOR AMBIENT TRACKLIST (LP) :

A1. 30 Hz Dub Prelude B1. Electronic Impromptu in E-f lat Minor BONUS DOWNLOAD : “Nocturnal Sonata”

BLURB This 10” Vinyl EP is the first manifestation of an exciting collaboration between London based music producer / performing artist Gaudi and the ever classy champions of genre-bending and experimental contemporary music, RarenoiseRecords. This hot-off-the-press taster, which will also be available in multiple DL formats, is an introduction to the forthcoming full length release, to be titled Magnetic, due to be released late Spring 2017 Gaudi, a much respected producer and performer with 15 studio albums under his belt, has been working to dissolve musical boundaries for over 35 years now, and is best loved and noted for his genre blending and high quality dub-centric productions. He has been let loose in the RareNoise vaults and has set himself the creational challenge of composing an album of entirely new music using the full palate of the RareNoise catalogue as his orchestra. Gaudi is no stranger to this kind of undertaking having previously taken on the challenge of composing and producing an album of new music working with vocal parts from archives of legendary Nusrat Fateh Ali Khan. The result of this multi-year endeavor, released with the title “Dub Qawwali”, earned him a nomination for a BBC World Music Award: It was not only a beautiful and sensitively handled piece of work, but also a landmark album in which the very concept of ‘remix’ was taken to the next level to become ‘re-composition’. In this respect, “Magnetic’ represents an even greater challenge than Dub Qawwali: the sheer breath of the source material offered by the RareNoise catalogue, which spans a high dimensional

manifold of genres, has stimulated and challenged Gaudi to work with a vast array of styles, instrumentation and flavors in order to create the master blend, a true challenge of distillation. Side A of this 10” Vinyl EP is home to the track “30Hz Dub Prelude” and there’s no mistaking from the first bar that this one is all about the bass - provided by psychedelic prog-rock artist Colin Edwins of Porcupine Tree fame. Drawing also from the rock side of the spectrum this track gets edge and pace from the drums of Ted Parsons from cult band Killing Joke. Guitars are by Eraldo Bernocchi and vocals by Japanese experimental vocalist Coppé are used as texture throughout and under the surface. Gaudi plays Minimoog, korg MS20 and fender rhodes. The trombone of Brian Allen (member of Brainkiller) draws you in and leads you as it meanders like a liquid brass river through the track. Side B is a more subdued affair. “Electronic Impromptu in E-f lat Minor” is an evocative time-slip into subjective reverie. A melancholy piece featuring Bill Laswell and Lorenzo Feliciati on Bass. Electronic noises and textures are crafted by Masami Akita (aka Merzbow) and tremulous nostalgic guitar by Eraldo Bernocchi punctuates the soundscape. It is a deep, drawing track which is tense and moody in tone, but softened by the satie-esque piano of Alessandro Gwis and Gaudi’s trademark Theremin with it’s unmistakable and luring voice. Drums by Steve Jansen (the drummer from art pop band Japan) give the track a purposeful yet faltering pace which further reinforces the space and flavour of the track - it is a song of counterpoints, spacious yet introspective, dark yet with a hint whimsy. The list of artists who have lent their sounds and skills to the overall project reads like a ‘who’s who’ of musical talent and gives warranted indication as to the quality of the ingredients; Artists to be featured in the final full length release Magnetic will include Tony Levin (best known for his work on bass with King Crimson and Peter Gabriel), Pulitzer prize finalist and avant-garde jazz trumpeter Wadada Leo Smith, ambient music legend and master of sonic experimentalism Harold Budd, Pat Mastelotto (drummer from XTC, David Sylvian, King Crimson, Sugar Cubes), experimental guitarist Buckethead (Guns ’n’ Roses, Bootsy, Iggy Pop) and internationally acclaimed Italian born jazz trombonist Gianluca Petrella to name but a few.

FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/gaudi-ep/s-Ngxed **************************************

ARTIST : NEW ZION W. CYRO T ITLE : SUNSHINE SEAS FORMATS : SINGLE CD / DOUBLE LP (2X180GMS) CAT NO: : RNR065 (CD) / RNR065LP (LP) BARCODES : 5060197760953 (CD) / 5060197760960 (LP)

RELEASE DATES : APRIL 29TH 2016

MUSICIANS: JAMIE SAFT – ALL KEYBOARDS, GUITARS, ELECTRIC BASS CYRO BAPTISTA – PERCUSSION, VOCALS BRAD JONES – ACOUSTIC BASS CRAIG SANTIAGO – DRUMS VANESSA SAFT – VOCALS ON “SUNSHINE SEAS” FOR FANS OF: NEW ZION TRIO, KING TUBBY, BUNNIE WAILER GENRES: CHILLOUT JAZZ, DUB, REGGAE TRACKLIST (CD) : 1. BRAZILJAH 2. CHALICE PIPE 3. MYSTICS 4 SUNSHINE SEAS 5. GROWING GROW 6. ONDA 7. RANKING 8. LAMB’S BREAD 9. SAMBA JAHMEKYA TRACKLIST (LP) : A1. BRAZILJAH A2. CHALICE PIPE A3. MYSTICS B1 SUNSHINE SEAS B2. GROWING GROW C1. ONDA C2. RANKING D1. LAMB’S BREAD D2. SAMBA JAHMEKYA

BLURB In recent years, Jamie Saft ’s s ignature musician-polymath touch has graced numerous recordings re leased by RareNoise, spanning a high dimensional manifo ld of genres, f rom the microtonal metal of Slobber Pup’s Black Aces , Pole Axe and The Spanish Donkey’s Raoul to the pure analog acoust ic piano tr io sounds of Saft/Swal low/Previte’s The New Standard to the lysergic f ree rock of

Plymouth , to recent col laborat ions with masters Roswel l Rudd and Wadada Leo Smith . With Sunshine Seas , the New Zion Tr io’s latest project (and RareNoise debut), Saft further bui lds on the success of New Zion's f i rst two releases “Fight Against Babylon” and “CHALIWA” (Veal Records). Saft not only suppl ies al l the piano and an assortment of v intage keyboards and synths, he also plays al l the electr ic bass and guitar parts on th is heavy Dub inf luenced recording. Brazi l ian percussionist Cyro Bapt ista, a longt ime col league of Saft ’s, adds his s ignature percussive f lavors and ebul l ient presence on such mesmeriz ing dub groove tracks as the opening “Brazi lJah” and the begui l ing “Chal ice Pipe”, which has Bapt ista on vocals and cuica and Saft comping in a gent le bossa nova vein on acoust ic guitar. The darkly insinuat ing “Onda” features Bapt ista’s massive ceramic drum work and has him singing in Portuguese about waves on the beach in a f low metaphor which deft ly captures the feel ing of th is evocat ive track. The heavy dub track “Ranking” is a pr ime showcase for Cyro’s mastery of the jaw harp (or Jew’s harp). Saft ’s wife Vanessa adds al lur ing vocals on the lovely t i t le t rack Sunshine Seas . Brad Jones anchors three tracks -- “Chal ice Pipe,” “Sunshine Seas” and “Lamb's Bread” -- with deep upright bass grooves . And drummer Craig Sant iago suppl ies the al l- important one-drop, Rockers, and Steppers grooves to fuel th is potent session Saft expla ins that h is af f in i ty for Jamaican music took hold decades ago. “Reggae and dub music have been an essent ia l part of my musical direct ion since I was a youth. Growing up in the New York City area, we l istened to Bob Marley, Peter Tosh, Stevie Wonder and Bunny Wai ler. I later became obsessed with King Tubby’s sound and his disciple Scient ist. These were producers who used the recording studio and mix ing console as a musical instrument. The greatest dub producers and art ists shape the sound of their work by using

the audio gear as musical devices to shape the tone. Delays, reverbs, modulat ion devices, compression and saturat ion devices: these are al l tools in the toolbox of the greatest dub art ists. Addit ional ly, I feel extremely fortunate to have worked with many true masters of Reggae music, including the l iv ing legends Bad Brains. Having the opportunity to learn with true masters l ike Darry l Jeni fer and Dr. Know of Bad Brains has deeply informed how I th ink about and shape music every s ingle day.” FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/new-zion-w-cyro-sunshine-seas/s-FLgcl VIDEOS https://www.youtube.com/playl ist?l ist=PL8pw8e2GsFVOH-jTgyHrK1Ig4UlBrKTsd **************************************

ARTIST : CHAT NOIR T ITLE : NINE THOUGHTS FOR ONE WORD FORMATS : SINGLE CD / SINGLE LP (180GMS) CAT NO: : RNR064 (CD) / RNR064LP (LP) BARCODES : 5060197760939 (CD) / 5060197760946 (LP)

RELEASE DATES : CD: JUNE 17TH

MUSICIANS: Michele Caval lar i : keyboards, piano, fx Luca Fogagnolo: el bass, upr ight bass, trombone J.Peter Schwalm : electronics, beats, keyboards, acoust ic guitar guests: Daniel Calvi: el.guitars, acoust ic guitars, lap steel guitar (3/4/7) Alessandro Tomasel l i : voice and lyr ics (3) FOR FANS OF: CHAT NOIR, DJ SHADOW, ESBJORN SVENSON TRIO GENRES: JAZZ TRIO, ELECTRONICA, DANCEFLOOR TRACKLIST (CD) :

1. Eternal ly Tranqui l L ight 2. Fundamental Mind 3. Momentary Continual 4. Blinking Neon 5. Detuning Leaves 6. Uneven 7. Soft Ground 8. Crystal l ized Flow

TRACKLIST (LP) : A1. Eternal ly Tranqui l L ight A2. Fundamental Mind A3. Momentary Continual A4. Bl inking Neon B1. Detuning Leaves B2. Uneven B3. Soft Ground B4. Crystal l ized Flow

BLURB The adventurous tr io Chat Noir has for the past 12 years def ied easy categor izat ion with i ts organic mix of ambient music, e lectronic textures as wel l as chamber music and jazz. Their s ingular approach to the piano tr io, c inematic in scope and start l ingly beaut i fu l , has garnered cr i t ical raves throughout Europe. On Nine Thoughts for One Word, their s ixth recording overal l and second for London-based RareNoise Records, the two founding members, pianist Michele Caval lar i and bassist Luca Fogagnolo, are jo ined in their

further explorat ions by electronic/ambient music composer and producer Jan Peter Schwalm (Br ian Eno, Eiv ind Aarset). Together they make a conceptual leap on what a piano tr io can be, with the invaluable input of Schwalm’s studio magic. This del icate balance of e lectronic exper imental ism with acoust ic piano and acoust ic bass has been evolv ing gradual ly f rom the group’s in i t ia l re lease in 2006, Adopt ion, and cont inued on 2007’s Decoupage through 2008’s Dif f icul t to See You. 2011’s Weather Forecast ing Stone and 2014’s Elec3Cit ies. Their col lect ive exper imentat ion cont inues on the evocat ive Nine Thoughts for One Word. “Exper imentat ion has always been a fundamental part of our work,” says bassist Fogagnolo. “We would descr ibe our journey as a ship adr i f t . I f jazz was our start ing point we’ve always fe l t f ree to explore di f ferent languages.” From the dramatic peaks of “Eternal ly Tranqui l L ight,” grounded by the resonant, woody tones of Fogagnolo’s upr ight bass, to the lyr ical del icacy of Caval lar i ’s piano on “Fundamental Mind,” f rom the throbbing techno vibe of “Bl inking Neon” to the Indonesian gamelan f lavored introspect ion of “Detuning Leaves” and the mesmeriz ing tr ip-hop of “Uneven” and “Soft Ground,” Chat Noir explores myr iad musical languages on Nine Thoughts for One Word. They also offer a very pleasing vocal number, “Momentar i ly Cont inual,” which is underscored by the pure, resonant tones of Fogagnolo’s upr ight bass, and they close out the program on a gent le note with Caval lar i ’s sparse piano work on the hymn-l ike “Crystal l ized Flow.” “This a lbum has more spat ia l sound and composit ions, which in turn may sound (paradoxical ly ) more ‘acoust ic’,” Caval lar i expla ins. “ ‘Crystal l ized Flow’ is point ing towards th is di f ferent, more spacious dimension, which is a lso l inked to the new l ineup and to the role that J. Peter in part icular had in our project.” Though Schwalm tra ined as a drummer, he is now playing mainly e lectronic instruments and music. “We met him at a fest iva l in

Norway (Punkt 2008) and immediately fe l l in love with his sty le,” Caval lar i recal ls. “As we rearranged our l ineup about one year ago, we decided to ask him for col laborat ion. For Luca and I , i t was a natural choice to abandon the classic piano-bass-drums format and try something di f ferent, but in l ine with the evolut ion of our sty le, which incorporated more and more electronic textures over the years. Peter brought in h is exper ience with sound processing and treatments, as wel l as his personal taste as co-producer of the album. Given his strong background in ambient music, h is part ic ipat ion in the project sound-wise contr ibuted to the very spacious dimension of the album, in l ine with the already ethereal v ibe of the composit ions.” As for h is longstanding musical re lat ionship with Fogagnolo, Caval lar i says, “Luca and I are good old pals. Our f r iendship and music col laborat ion informs one another. On the one hand, music made our f r iendship even stronger. On the other hand, we can rely on shared ideas about music, and even more general ly about l i fe, when playing together. I t ’s a constant dia log of spoken as wel l as unspoken words. “We often have simi lar taste for music,” he cont inues. “But more important ly, when coming from dif ferent musical references and preferences, Luca and I have contr ibuted even more to each other’s musical ideas and ways to perform.” Caval lar i adds that h is method of playing and recording together with Fogagnolo changed radical ly four years ago when the two I ta l ians re located to di f ferent countr ies -- Michele to the United States and Luca to Germany. “Our rehearsal room changed from being a shared space, where we used to physical ly meet quite often, to a v i r tual p lace. Nine Thoughts for One Word is our second album recorded through cloud-based shar ing of music ideas and sessions. This wouldn’t have been possible without a long-term relat ionship. But somehow the distance helped to develop even more our personal taste, before shar ing ideas for new tunes as

we’ve always done. In the process of developing new tunes, we can count on a strong shared basis, establ ished throughout our long col laborat ion, as wel l as on a naïve att i tude and openness towards di f ferent ideas, and potent ia l ly surpr ises.” He further descr ibes the group’s modus operandi on Nine Thoughts for One Word: “Our approach is to try to understand where the composit ion is point ing to and to give meaningful contr ibut ion to i t , by ei ther contrast ing or corroborat ing the or ig inal idea. Basical ly, the process we fol low to compose and play together is grounded in the root of two essent ia l and mutual ly re inforcing aspects: f r iendship and freedom.” Caval lar i a lso expla ins that he and Fogagnolo have jo int exper ience working on soundtrack recordings, which may expla in why so much of their music has such a cinematic qual i ty. “We did work on movie soundtracks in the past. Some of our tunes were featured in Cr ist ina Comencini ’s f i lms – Don’t Tel l (nominated for best foreign language f i lm category at the 78th Academy Awards) and Black and White – as wel l as Francesca Comencini ’s documentary In Fabr ica. Our music has often been associated with cinematic features. Rather than th inking v isual ly when composing, I guess we approach composit ions in away that has simi lar i t ies with f i lm direct ion. We try to develop ‘stor ies’ and ‘p lots’ through melodic l ines and sometimes more abstract parts that overal l fo l low a dynamical ly organized f low. “As to the our way to approach composit ions, e i ther one of us usual ly ‘p lants the seed’ of a new tune on his own. Then, f rom the or ig inal basic idea, we let the other tota l ly express himself without l imitat ions. Sometimes we go through mult ip le i terat ions of sending music ideas back and forth between us, as addit ional contr ibut ions can inspire new direct ion of the tune. I t never happens that we don’t l ike what the other brought in terms of contr ibut ion to the song. In th is sense we are tota l ly connected.” I t is easy to see how such kindred spir i ts cont inue to col laborate

and thr ive, even when l iv ing on separate cont inents. And together with ambient mixmaster Schwalm, they travel to some whol ly new musical terr i tory on Nine Thoughts for One Word, the most t ranscendent Chat Noir re lease to date. FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/chat-noir-nine-thoughts-for-one-word/s-yAeOb **************************************

ARTIST : MAGNET ANIMALS T ITLE : BUTTERFLY KILLER FORMATS : SINGLE CD / SINGLE LP (180GMS) CAT NO: : RNR063 (CD) / RNR063LP (LP) BARCODES : 5060197760915 (CD) / 5060197760922 (LP)

RELEASE DATES : JUNE 17TH 2016

MUSICIANS: Todd Clouser: guitars, vocals Eyal Maoz: guitar Shanir Ezra Blumenkranz: bass Jorge Servin: drums FOR FANS OF: A LOVE ELECTRIC, ABRAXAS, MARS VOLTA GENRES: ALTERNATIVE ROCK, AMERICANA TRACKLIST (CD) : 1. HEADPHONE GIRLS 2. ATAYDE 3. MARTHA FEVER 4 BABY GODS 5. BUTTERFLY KILLER 6. I GIVE UP AND LOVE SOMEBODY 7. STATE OF MY FACE 8. BILL BORROUGHS 9. LITTLE JOHN THE LIAR 10. IGUAL PERO PEOR TRACKLIST (LP) : A1. HEADPHONE GIRLS A2. ATAYDE A3. MARTHA FEVER A4 BABY GODS A5. LITTLE JOHN THE LIAR B1. BUTTERFLY KILLER B2. I GIVE UP AND LOVE SOMEBODY B3. STATE OF MY FACE B4. IGUAL PERO PEOR

BLURB On the heels of h is genre-defy ing A Love Electr ic t r i logy and subsequent song project, Man With No Country , guitar ist-composer-poet- lyr ic ist C Todd Clouser jo ins forces with drummer Jorge Serv in and the potent one-two punch of Abraxas guitar ist Eyal Maoz and bassist Shanir Blumenkranz in forming Magnet Animals. Their s lamming and start l ingly unique debut, Butterf ly Ki l ler -- fu l l of skronking noise guitars of blast furnace intensity and stream of conscious raps over r ighteous r i f fs and humungous backbeats -- stands as one of the most strangely compel l ing out ings in the

extensive and wi ld ly eclect ic catalog of London-based RareNoise Records. From the opening salvo of “Headphone Gir ls” to the jarr ing punk-funk of “Martha Fever,” the eer ie Ennio Morr icone-sty led spaghett i western v ibe of “ I Give Up And Love Somebody” and the sin ister t i t le t rack, Butterf ly Ki l ler sidesteps convent ion at every turn whi le boldly stepping to a di f ferent k ind of muse. Throw in a B-52s-sty led ‘80s dance party number (“ Igual, Pero Peor”) , a throbbing jam with a haunt ing, an evangel ist preacher sty led incantat ion (“L i t t le John The Liar” ) and an ode to a late junkie author/hipster (“Bi l l Burroughs”) and you have one of the most dar ing, fu l ly sel f-real ized creat ions of the current year. Credit Clouser with creat ing the vehic le for such a powerfu l statement to take place. “The Magnet Animals record is very impuls ive,” expla ins the auteur. “With the A Love Electr ic records, we wri te, re-wr i te, edit , produce, cut tunes in hal f and tour together on 120 dates a year. With Magnet Animals, I wanted to get back to just a creat ive impulse, honor ing that, expressing, and moving on. I wrote the tunes in one weekend in a cabin a week before we had the tour planned. We played a week’s worth of shows, recorded on the last day in about an 8-hour session. I took the sessions to Minneapol is to mix, and that was i t . I wanted i t to be fast, a ref lect ion of the personal i t ies of the players and their inst incts, and not th ink myself out of what I needed to say, and what th is group was on i ts f i rst impulse, inst inct ively.” Regarding his ro le as pr incipal wordsmith and narrator of the v iv id imagery conjured up throughout Butterf ly Ki l ler, Clouser says, “ I l ike lyr ics that can surv ive as poetry -- just on the page. I ’m not sure i f I am a poet or a lyr ic ist but words are important to me. I f I am going to use them, I want them to have purpose. Sometimes i t ’s in humor, l ike on ‘Headphone Gir ls. ’ I t ravel a lot and there are al l these thousands of headphones they sel l a l l over a i rports now -- every color and size and sales pitch, and i ts a tr ip! So I wrote that

‘ look at me l istening’ l i t t le l ine when I was in the At lanta airport on A Love Electr ic tour and thought i t was fun to s ing, or ta lk. Other t imes, l ike on ‘Atayde,’ there is th is t remendous nostalg ia and some kind of sadness to the words. Atayde is the name of a fami ly c i rcus in Mexico City and their c i rcus tent was just r ipped down, I t was giant, big and blue, with a bal l that looked l ike a clown’s shoe on top. I t ’s l ike a whole block long and i t ’s located r ight where al l the hookers hangout on paydays, on Tla lpan. There’s so much absurdity there that somehow there is beauty and calm in i t , l ike complete resignat ion to our human inst incts, fa i lures, a l l of i t . So that was an easy and kind of emotional song to wr i te. That’s real ly more of a spoken piece. In the end, I th ink i t ’s just about observ ing and try ing to f ind the humanity, the emotion, in whatever I want to wr i te about.” Clouser detai ls h is connect ion to the three other intrepid improvisers and ski l led musicians who comprise Magnet Animals. “Eyal and I have ta lked about playing together for years and when I was on tour with A Love Electr ic I v is i ted his apartment a couple t imes and we just set up and improvised. He is so fear less and himself . He kind of plays how Mexico City sounds to me. I p layed with Shanir Blumenkranz at the John Lur ie tr ibute show at NYC Town Hal l with Bi l ly Mart in and John Medeski. We played Marvin Pont iac songs from that Lur ie record (1999’s The Legendary marvin Pont iac: Greatest Hits ) . Shanir is so scouted when he plays and his feel is so warm. We got a long wel l and ta lked about doing something together at some point. I have played now with a lot of the ‘Downtown scene’ heroes, including John Zorn, Cyro Bapt ista, Medeski Mart in & Wood, and always crossed paths with Shanir. I t seemed l ike i t was t ime to play together.” Though Clouser wrote al l of the songs on Butterf ly Ki l ler , he says the recording is very much a product of everyone’s contr ibut ions. “With other players, th is could be a corny fusion record, the way the tunes are wr i t ten. I t had to be a crew of guys wi l l ing to get into the dir t . Much of what we did and what we captured on record is about the energy of the performance, the r isk,

knowing we are reading tunes but we are free to abandon them in dramatic ways. Shanir had a big hand in arranging the tunes and working out feels. He’s so good at that. Eyal has such a strong and unique voice, i t ’s l ike having an electr ic piano player, theremin player and jazz guitar ist a l l at once.” And whi le modernists may point to the inf luence of guitar shredders l ike Sonny Sharrock or Nels Cl ine or Sonic Youth’s Thurston Moore in the skronking metal l ic interplay heard on harsh tunes l ike “Headphone Gir ls,” “Martha Fever” and “State of My Face,” Clouser expla ins that the inf luence actual ly goes back much further. “A lot of i t , honest ly, is o ld Delta blues, the voices as much as the guitars. L istening to Skip James sing, going back to a lot of the Alan Lomax recordings of pr ison song, f ie ld song, gospel.. . that raw feel is a l l there. That being said, I grew up in the late 90’s, so Sonic Youth was an inf luence as wel l as a lot of the NYC downtown stuff I started to l isten to. I l iked the personal i ty and personal i t ies of i t . People there had something to say that I re lated to. I have spent a lot of t ime with old blues records and psych rock records, some of the Brazi l ian psych rock stuff and Os Mutantes, and then, of course, h ip-hop.But I have a background in jazz, knowledge of these harmonies, and spent t ime playing Thelonious Monk music, so some of that creeps in as wel l .” Clouser a lso expla ins that the sparse, lonely, vaguely Americana feel that comes across on tunes l ike "Atayde" and " I Give Up And Love Somebody” comes from his Midwestern upbr inging. “ I was born in Kansas City and grew up in Minneapol is. Though I l ive in Mexico City now, I can only run so far f rom dr iv ing up and down highway 35 through the cornf ie lds, F ly ing J travel centers, and l istening to unreasoned preachers and minor league basebal l games on the radio. I d id so many van tours up and down that h ighway, you have t ime to wr i te. I would wr i te for hours i f I wasn’t dr iv ing, just looking around and being romant ic about something so many people are so dismissive of. You f ind romance, resignat ion there in the simple. The Coen Brothers are great at putt ing that to story and f i lm.

I love that k ind of Americana when i t sounds in music.” As for the k ind of evangel ical fervor that he takes on in his spoken word rants on “Li t t le John the Liar” and the t i t le t rack, Clouser expla ins that i t comes from the deepest recesses of h is chi ldhood. “ I t ’s just a character, but I do th ink I am perhaps unhealth i ly drawn to ta lk ing about re l ig ion, Jesus and preaching in my music. My parents, who I love so much, sent me to Sunday school when I was k id, which I hated so much. I t was horr ib le. I knew they were ly ing to me and I was stand-off ish. So I th ink sometimes I st i l l haven’t gotten over that, and gotten over th is whole dis i l lus ioned idea of a savior who makes you r ight even when you are wrong. So maybe I lash out in music, or in what I wr i te, or how I s ing i t . Sometimes the lash is to car icature- ize the ‘preacher. ’ I a lso th ink having l istened to a lot of spir i tual music, a lot of gospel, ear ly jazz, Max Roach’s Freedom Now Suite , these types of records, I am drawn to th is sort of prophet ic voice, and emoting that way.” Her further expla ins that “Bi l l Burroughs” was an homage to someone he great ly admired and fe l t a k inship with. “ I never met him. I d idn’t share much t ime on Earth with him but I l ive about a mi le away from where he did when he was in Mexico City. I love his wr i t ing. His story is t ragic and heroic and offensive and teaching. I a lmost died from being an addict and I am gay. That’s two big ones. From there on, i ts pretty easy to re late.” Of h is current place of residence, Clouser couldn’t be happier. “ In Mexico City I fe l l into a great th ing. I had no plans to l ive there but I met two musicians, Hernan Hecht and Aaron Cruz, and that became our group A Love Electr ic. This was about three years ago. We al l had the same impetus, to go out and share our music wherever we could but in the most human, non-pretent ious way possible. For example, we just got a grant f rom he US Embassy some months ago. We had offers to take i t and go to a couple big fest iva ls for f ree or a reduced rate. We decided to go to Honduras, Nicaragua and South Mexico and play in community centers and

bars instead. And I would do that again in a second, and these two guys are the same way. “There are songs everywhere in th is c i ty. I have been assaulted by way too many ideas since I moved here that I am st i l l t ry ing to sort through and make records or bands or whatever might be next. There is an energy here that I am attracted to, a chaos, but at the same t ime something very human. Because at some point you have to help each other out or the whole th ing is going to blow up and the ci ty wi l l drown in i tsel f . And now tour ing a lot in Mexico, going to places l ike Oaxaca up in the mountains to work with tradit ional wind musicians, or on the Yucatan to a town where Maya is the only language spoken, these th ings are fascinat ing, inv igorat ing, excit ing. I am able to learn by l iv ing al l day long, and when that is happening there is no escape from inspirat ion.” I t takes an inspired person to come up with something as audacious and uncompromising as Butterf ly Ki l ler . Clouser and his Magnet Animals crew del iver goods on th is provocat ive new release on RareNoise Records. FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/magnet-animals-butterf ly-k i l ler/s-OKj3K **************************************

ARTIST : WORLDSERVICE PROJECT T ITLE : FOR KING & COUNTRY FORMATS : SINGLE CD / SINGLE LP (180GMS) CAT NO: : RNR062 (CD) / RNR062LP (LP) BARCODES : 5060197760892 (CD) / 5060197760908 (LP)

RELEASE DATES : CD: APRIL 29TH 2016 / LP: MAY 20TH 2016

NOTE : DIFFERENT DATES

MUSICIANS: DAVE MORECROFT : KEYBOARDS, VOCALS TIM OWER : SAXOPHONE RAPHAEL CLARKSON : TROMBONE, VOCALS ARTHUR O’HARA : BASS HARRY POPE : DRUMS FOR FANS OF: MELT YOURSELF DOWN, NELS CLINE SINGERS GENRES: PUNK JAZZ TRACKLIST (CD) : 1. FLICK THE BEANSTALK 2. FUMING DUCK 3. MURANO FARO 4 SON OF HAUGESUND 5. GO DOWN HO’SES 6. CHAMONIX 7. MR GIGGLES 8. REQUIEM FOR A WORM TRACKLIST (LP) : A1. FLICK THE BEANSTALK A2. FUMING DUCK A3. MURANO FARO A4 SON OF HAUGESUND B1. GO DOWN HO’SES B2. CHAMONIX B3. MR GIGGLES B4. REQUIEM FOR A WORM

BLURB Fol lowing in the tradit ion of such renegade composers as Frank Zappa, Char les Mingus, Igor Stravinsky and Harr ison Bertwhist le, Dave Morecroft seeks a spot in the musical f i rmament that is decidedly lef t of center. And as keyboardist and pr incipal composer for the edgy London-based avant-funk- jazz quintet WorldService Project, he is str ik ing a blow upside the head of musical complacency. On For King & Country, the group’s RareNoise debut and th ird re lease overal l , the powerhouse aggregat ion cuts across

sty l ist ic boundar ies with impunity and a decided ‘punk-jazz’ att i tude. As Morecroft expla ins, “Punk-jazz for me is more a ref lect ion of rebel l ion. Maybe i t ’s jazz but i t ’s played with an ' f-you' to the establ ishment/systems that dictate what jazz is supposed to mean or be.” The album wi l l be re leased on Apr i l 29th and wi l l be avai lable on CD, v inyl and digi ta l download. He further descr ibes the do-or-die presence that the band adopts onstage. “WorldService Project is a very intense, h igh-energy l ive show. We throw ourselves into i t and hope to come out a l ive at the other end. And i f you're not bleeding by the end of i t , you haven't t r ied hard enough.” That k i l ler inst inct is conveyed from track to track on For King & Country ( the t i t le i tsel f is a k ind of i ronic nod to the band’s Br i t ish ancestry). From the prog-rockish tumult of the opener “F l ick the Beanstalk” to the moody closer “Requiem for a Worm,” WorldService Project carr ies a pronounced crunch whi le in ject ing dar ing improvisat ions and myr iad punk-jazz expressions into the mix. Join ing Morecroft on th is fo l low-up to 2012’s Fire In A Pet Shop are tenor sax burner Tim Ower, t rombonist Raphael Clarkson, bassist Arthur O’Hara and drummer Harry Pope. Says Morecroft of th is audacious WSP out ing, “ I wanted For King & Country to be an epic l isten, that f rom moment to moment i t could rage intensely, pul l at heartstr ings, f l ip in double somersaults around the room or sardonical ly sneer at the establ ishment. I t is an incredibly personal record for me (much more than any other) with true heartbreak, anger, loss, dis i l lus ionment, ecstasy and piss-taking a-plenty! But at i ts heart ( I hope), pur i ty of gesture, intensity and sincer i ty.” The slamming odd-metered piece “Fuming Duck,” for instance, is indeed an epic l isten. Underscored by O’Hara’s fuzz bass l ines melding with Clarkson’s electr ic t rombone for an uncommonly heavy bottom end, i t h i ts as hard as King Crimson’s “Red” whi le suggest ing something far jazz ier. Pope’s monstrous drum solo over the band ost inato at the end of th is raging piece is an adrenal ized

highl ight. L ikewise, “Murano Faro” s lowly bui lds from something dreamy and distant to a throbbing crescendo with Clarkson’s trombone wai l ing over the top in hal f- t ime. “Son of Haugesund” is a blast of intensity to match anything on Led Zeppel in I I I whi le the frant ic, tempo-shif t ing “Go Down Ho’Ses” carr ies the zany energy of a ska band conducted by Frank Zappa. Ower’s passionate sax solos on th is unhinged number and on the dramatic “Chamonix” are both except ional. And on “Mr. Giggles,” at once humorous and scary, Morecroft unvei ls the cartoonish vocals of the t i t le character (a s in ister c lown al ter ego that he introduced on Fire In A Pet Shop) against a clamorous undercurrent. The closer, “Requiem for a Worm,” opens on a restfu l , introspect ive note with Ower blowing breathy tones against a gent le backdrop. Midway through, the mood shi f ts as the piece gradual ly bui lds to a s lamming, fuzz- laden crescendo of epic proport ions. FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/worldservice-project-for-king/s-GFFDC **************************************

ARTIST : MERZBOW, KEIJ I HAINO, BALAZS PANDI T ITLE : AN UNTROUBLESOME DEFENCELESSNESS FORMATS : SINGLE CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR061 (CD) / RNR061LP (LP) BARCODES : 5060197760878 (CD) / 5060197760885 (LP)

RELEASE DATES : JULY 22ND 2016

MUSICIANS: MERZBOW : electronics KEIJI HAINO : guitar, electronics, occasional vocals BALAZS PANDI : drums FOR FANS OF: MERZBOW, KEIJI HAINO GENRES: NOISE, POWER ELECTRONICS, EXTREME MUSIC TRACKLIST (CD) :

1. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part I ) 2. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part I I ) 3. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part I I I ) 4. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part I ) 5. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part I I ) 6. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part I I I ) 7. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part IV)

TRACKLIST (LP) : A1. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part I ) A2. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part I I ) B1. Why is the courtesy of the prey always confused with the courtesy of the hunters…(Part I I I ) C1. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part I ) C2. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part I I ) D1. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part I I I ) D2. How dif fer the instruct ions on the left f rom the instruct ions on the r ight? (Part IV)

BLURB

The renowned Japanese electronic maestro Merzbow (aka Masami Akita) jo ins forces with his fe l low countryman Kei j i Haino and Hungar ian drummer Balazs Pandi on another example of extreme sonic exper imentat ion in the form of An Untroublesome Defencelessness. Merzbow and Pandi, who have been playing together s ince 2009 and previously col laborated on two RareNoise Records re leases -- 2013’s Cuts (with Swedish free jazz saxophonist Mats Gustafsson) and 2015’s Cuts of Gui l t , Cuts Deeper (with Sonic Youth guitar ist Thurston Moore) -- push the envelope once again with improv singer and noise guitar ist Haino. The result ing sound is a re lent lessly intense cauldron of caust ic power chording, adrenal ized blast beats and double bass drum thunder, and gr inding white noise fusi l lades, courtesy of th is fearsome threesome. Whi le some might cal l i t noise, Merzbow offered th is explanat ion in a New York Times interv iew: “Noise is the unconscious of music.” Together these three intrepid explorers plumb the depths of the unconscious on An Untroublesome Defencelessness, which is comprised of the three-movement suite “Why is the courtesy of the prey always confused with the courtesy of the hunter” and the four-part “How dif ferent the instruct ions of the left f rom the instruct ions of the r ight.” And to Pandi, th is out ing, l ike a l l of Merzbow’s singular sonic exper iments, remains “music of great mystery.” In a post-Cage-ian wor ld where there are no wrong notes – in fact, no notes at a l l , just s i lence and the absence of s i lence – the enigmat ic Merzbow is a Magel lan of sound, fear lessly t ravel ing uncharted waters on each new project he undertakes (he has made over 350 recordings since

1979). Born on December 19, 1956 in Tokyo, he was or ig inal ly att racted to rock guitar ists l ike J imi Hendr ix, Lou Reed and Robert Fr ipp, and later was inf luenced by free jazz icons Albert Ayler, Ceci l Taylor and Frank Wright as wel l as electronic music pioneers l ike Kar lheinz Stockhausen and Iannis Xenakis. “Then I found the forum for mix ing these inf luences into pure electronic noise,” he said in a 1999 interv iew with EsoTerra Magazine: The Journal of Extreme Culture. “ I was try ing to create an extreme form of music.” Merzbow has found a true k indred spir i t in Pandi, who has become a k ind of ‘house drummer’ for RareNoise Records, appear ing on projects by Obake, Metal l ic Taste of Blood and Slobber Pup as wel l as v ibrant recordings with saxophonist Ivo Per leman (Onc), t rumpeter Wadada Leo Smith (Red Hi l l ) and trombonist Roswel l Rudd (Strength & Power). Says the f lex ib le drummer of h is h ighly conversat ional approach with his avant garde partner Merzbow: “The chemistry between us was there r ight f rom the very beginning. Masami has been f l i r t ing with the idea of l ive drums on his shows for a whi le as he is a drummer himself , but according to him, the metal drummers were too much in the autopi lot zone and jazz drummers were not intense enough and couldn’t keep up with volume. My way of playing was f i t t ing his music perfect ly, as I p lay both improvised music that is changing shape al l the t ime and heavy ampl i f ied music. We don’t have th ings anchored, we just have a cont inuously expanding vocabulary and we pay attent ion to each other and f ind immediate hooks in each other’s playing.” Adds the Prague-born drummer, whose endurance and sheer intensity throughout An Untroublesome Defencelessness is nothing short of awesome, “ I

approach these l ive recordings with Masami and Haino as meditat ion and let the sound carry my body and mind through these concerts and recordings. l let my spir i t take over my body rather than using power or force consciously.” Pandi expla ins that the remarkable versat i l i ty he has displayed on th is and other RareNoise Recordings, whether i t 's playing brushes with Wadada Leo Smith, underscor ing Roswel l Rudd with an Afr ican-f lavored momentum or playing with s lamming, fu l l- t i l t abandon with Obake and Slobber Pup, der ives from his musical ly r ich upbr inging in Budapest. “When I was nine years old, I got introduced to black/death metal by a f r iend at music school and also started my studies as a classical percussionist. At age ten I jo ined a youth orchestra where we played everything from marching music to operas up to contemporary composers pieces. Because of th is, I appreciated di f ferent music by i tsel f before gett ing into a certa in scene or genre too deep.” This open-minded musical aesthet ic ul t imately led to the expanded vocabulary that now manifests in a var iety of g igs for the versat i le drummer. And he loves to mix up his wide-ranging vocabulary f rom session to session. As he expla ins, “ I t can be interest ing sometimes to add some random blast beats to a more sensit ive recording with Wadada, just as i ts great to f igure out how to leaves spaces open in an intense musical environment to create a certa in tension.” The th ird member of th is formidable tr iumverate, s inger-songwri ter-guitar ist Kei j i Haino, had previously worked with Merzbow under the moniker Kikur i . The idea of col laborat ing with Kei j i on An Untroublesome Defencelessnes goes back to 2010. As Pandi expla ins, “When Masami and I d id a gig in Osaka back then, we

threw a couple ideas back and forth and decided that i t would be great to try and form a tr io with Haino-san. Kei j i is l ike an inf in i te wel l of ideas. I t ’s incredible how he can push music and sounds into new direct ions. Sounds coming from him have way more qual i t ies than the ones coming from most musicians, as he uses every possible way to al ternate sounds and give them extra qual i t ies that people just don’t know about.” And they make scint i l lat ing music together on the l ive- in-the-studio recording An Untroublesom Defencelessness, yet another mind-blowing addit ion to the burgeoning RareNoise Records catalog.

FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/merzbow-kei j i -haino-balazs-pandi-an-untroublesome-defencelessness/s-GeKyV **************************************

ARTIST : ROSWELL RUDD, JAMIE SAFT, TREVOR DUNN, BALAZS PANDI T ITLE : STRENGTH & POWER FORMATS : SINGLE CD / DOUBLE LP (2X180GMS) CAT NO: : RNR060 (CD) / RNR060LP (LP) BARCODES : 5060197760854 (CD) / 5060197760860 (LP)


MUSICIANS: ROSWELL RUDD – TROMBONE JAMIE SAFT – PIANO TREVOR DUNN – ACOUSTIC BASS BALAZS PANDI - DRUMS FOR FANS OF: FREE JAZZ, ROSWELL RUDD, JAMIE SAFT GENRES: JAZZ, FREE JAZZ, FREE MUSIC, IMPROVISATION TRACKLIST (CD) : 1. STRENGTH & POWER 2. COBALT IS A DIVINE 3. THE BEDROOM 4. LUMINESCENT 5. DUNN’S FALLS 6. STRUTTIN’ FOR JAH JAH TRACKLIST (LP) : A1. STRENGTH & POWER B1. COBALT IS A DIVINE C1. THE BEDROOM C2. LUMINESCENT D1. DUNN’S FALLS D2. STRUTTIN’ FOR JAH JAH

BLURB In a remarkable example of uncanny group-think, pianist-keyboardist and RareNoise regular Jamie Saft (Metal l ic Taste of Blood, Slobber Pup, Plymouth, The New Standard, Red Hi l l ) jo ins with longt ime col laborators Trevor Dunn on bass and Balazs Pandi on drums and master t rombonist Roswel l Rudd on the astounding, purely improvised Strength and Power . Recorded l ive in Saft ’s home studio near Woodstock, New York, th is intergenerat ional of fer ing features the 44-year-old pianist, 47-year-old bassist, 32-year-old Hungar ian drummer and 80-year-old avant garde pioneer blending organical ly, te lepathical ly on a set of conversat ional music running the gamut of

dynamics and emotions. The revered trombonist, who came up playing Dix ie land or t radit ional jazz music whi le attending Yale Universi ty in the mid 1950s and later made his mark in the free jazz wor ld through col laborat ions with Ceci l Taylor, Archie Shepp, John Tchicai and longt ime col laborator Steve Lacy, is a formidable presence on th is recording. Whether i t ’s h is lyr ical p lay ing on the spacious bal lad “Luminescent,” h is unrestra ined blowing on a surging “The Bedroom,” h is conversat ional plunger work on “Cobalt Is a Div ine” and the t i t le t rack or h is ear ly New Orleans ta i lgate-sty led test i fy ing on “Strutt in ’ for Jah Jah,” Rudd’s trombone resounds with history, humor and humanity. Dunn provides th ick grooves and potent contrapuntal l ines throughout (part icular ly when he is paired in a duet with Rudd on “Dunn’s Fal ls” ) whi le Pandi propels the proceedings with k inet ic backbeats and swinging momentum. FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/roswel l-rudd-jamie-saft-trevor-dunn-balazs-pandi-strength-power/s-Msdzx **************************************

ARTIST : J.PETER SCHWALM TITLE : THE BEAUTY OF DISASTER FORMATS : SINGLE CD / DOUBLE LP (2X140GMS) (BOTH WITH BOOKLET) CAT NO: : RNR059 (CD) / RNR059LP (LP) BARCODES : 5060197760830 (CD) / 5060197760847(LP)


MUSICIANS: J.PETER SCHWALM – GUITARS, PIANOS, ELECTRONIC DEVICES,

ACOUSTIC AND DIGITAL SOUND MODULES, MIXING DESKS, DRUMS AND SYNTH

TIM HARRIES – BASS MARTIN FRANCE - DRUMS EIVIND AARSET - GUITARS MICHAEL WÖLLNY – PUMP ORGAN CHRISTINE SCHÜTZE - PIANO NELL CATCHPOLE - VIOLA FOR FANS OF: BRIAN ENO, GYÖRGY LIGETI, J.PETER SCHWALM GENRES: AMBIENT MUSIC, ELECTRONIC MUSIC, ELECTROACOUSTIC

MUSIC TRACKLIST (CD) : 1. THE ANXT CODE 2. HIMMELFAHRT 3. THE BEAUTY OF DISASTER 4. NUMBERS BECOME STORIES 5. STILLE, BLITZ UND DONNER 6. ZIRKELTRILOGIE 7. WUNSCHKLANGREGISTER 8. THE END AND THE BEGINNING 9. ANGSTPHANTASIE 10. ENDKNALL TRACKLIST (LP) : A1. THE ANXT CODE A2. HIMMELFAHRT A3. THE BEAUTY OF DISASTER B1. NUMBERS BECOME STORIES B2. ZIRKELTRILOGIE C1. WUNSCHKLANGREGISTER C2. ANGSTPHANTASIE C3. STILLE, BLITZ UND DONNER D1. THE END AND THE BEGINNING D2. ENDKNALL

BLURB The wel l-known slogan “One picture is worth a thousand words”, created by the advert is ing industry in the ear ly nineteen-twent ies and now a general cultural meme, could equal ly sensibly be appl ied to the f ie ld of music. Instrumental music, in part icular music generated by electronic means, has, over the last several decades, become of central importance to popular culture: you only need to think about Br ian Eno’s “Music For Airports”, which helped def ine the genre of “Ambient” music and create a permanent bond between music and everyday real i ty. Simi lar ly, the composit ions and music product ions by J.Peter Schwalm are testament to the power of tones without words. Since 1998 and for s ix years, Schwalm worked cont inual ly with Eno,

releasing numerous jo int works, including the album “Drawn From Life”

and the soundtrack to the f i lm “Fear X” by Nicholas Winding Refn, al l

the whi le giv ing celebrated jo int performances in Europe and Japan.

Since 2006, Schwalm has been repeatedly invi ted by the Punktfest ival in Kr ist iansand, where he performed as celebrated l ive-remixer. As one of the most respected exponents of th is part icular art form, he col laborated with several wel l known music ensembles, including the Ensemble Modern from Frankfurt The new album by J.Peter Schwalm, “The Beauty Of Disaster” cont inues this tradit ion, by exempl i fy ing the suggest ive powers of instrumental music, whi le drawing inspirat ion from contemporary images: “ I had been deeply impressed by satel l i te images of the catastrophic oi l spi l l in the Gulf of Mexico whi le composing new pieces for th is album. These surpr is ing photos, which so reminded me of paint ings, seemed to embody the very same deep dual i ty between the dark melanchol ia they depicted and a cont inuous, meshed sense of hope, an embedded ray of l ight, as did the composit ions I was working on.” As such, these composit ions of J.Peter Schwalm seek to balance the aesthet ics of electronic with that of orchestral music. His swel l ing arrangements mark the di f ference between opulence (desired) and bombast ( to be avoided at al l costs), whi le his electronic sounds highl ight his unique techniques, developed way beyond what is achievable by regular plug-ins. Many passages are completely devoid of beat, thus achieving a deep sense of contemplat ion in music.

Schwalm counts jazz innovator Miles Davis as ear ly s igni f icant inf luence, as wel l as f i lm work by Stanley Kubrick: “ In a certain way” he laughs gent ly “ I am st i l l inspired by Bitches Brew. The piece “Himmelfahrt” arose fol lowing simi lar pr inciples: there is a rhythm, a theme, but rather than studio improvisat ions, a large number of l ive cuts which I in jected into the piece.” Other pieces, such as “Zirkelt r i logie” or “Endknal l” were rather more inf luenced by György Liget i : “Since seeing Lux Aeterna at the age of 15, I became deeply fascinated by his composit ions made of tonal surfaces.” I t was of course Liget i ’s music which signi f icant ly contr ibuted to the metaphysical depth of Stanley Kubrick’s 2001 Space Odyssey. FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/ jpeter-schwalm/s-SgaAh **************************************

ARTIST : DAVID FIUCZYNSKI T ITLE : FLAM! BLAM! PAN-ASIAN MICROJAM! FORMATS : SINGLE CD / SINGLE LP (180GMS) (YELLOW VINYL) CAT NO: : RNR058 (CD) / RNR058LP (LP) BARCODES : 5060197760816 (CD) / 5060197760823 (LP)

RELEASE DATES : MARCH 18TH 2016

MUSICIANS: DAVID FIUCZYNSKI – GUITARS HELEN SHERRAH-DAVIES – VIOLIN YAZHI GUO – OBOE, CHINESE PERCUSSION UTAR ARTUN – MICROTONAL KEYBOARDS, RHODES JAKE SHERMAN – MICROTONAL KEYBOARDS, RHODES JUSTIN SCHORNSTEIN – EL.BASS ALEX ‘BISQUIT’ BAILEY – DRUMS, PERCUSSION RUDRESH MAHANTHAPPA – ALTO SAXOPHONE FOR FANS OF: DAVID FIUCZYNSKI, RUDRESH MAHANTHAPPA GENRES: MICROTONAL MUSIC, FUSION, JAZZ-ROCK TRACKLIST (CD) : 1. LOON-Y TUNES 2. DANCE OF THE UIRAPURU 3. FLAM 4. Q&A SOLITAIRE 5. OISEAUX JDILLIQUE 6. GAGAKU CHORD CANDY 7. WALDSTIMMEN 8. UIRA HAPPY JAM 9. ORGAN WREN 10. LOON-LY SOLITAIRE TRACKLIST (LP) : A1. LOON-Y TUNES A2. DANCE OF THE UIRAPURU A3. FLAM A4. Q&A SOLITAIRE A5. OISEAUX JDILLIQUE A6. GAGAKU CHORD CANDY PT1 B1. GAGAKU CHORD CANDY PT2 B2. WALDSTIMMEN B2. UIRA HAPPY JAM B4. ORGAN WREN B5. LOON-LY SOLITAIRE

BLURB David Fiuczynski opened the Pandora’s Box on non-Western tuning on his 2012 RareNoise Records debut, Planet MicroJam. He pushes the envelope even further on his latest microtonal project, FLAM! BLAM! PAN-ASIAN MICROJAM!

Joint ly dedicated to 20th century classical composer Ol iv ier Messiaen and innovat ive hip-hop record producer J Di l la, th is ambit ious venture has the guitar ist-composer pursuing his passion for the notes that fa l l between the cracks with his intrepid microtonal crew. The seven movements that comprise FLAM!, inst igated by Fiuczynski receiv ing a 2011 Guggenheim Fel lowship, show the connect ions between exot ic bird cal ls and J Di l la ’s famous ‘ f lam beats’ whi le a lso referencing the colors of Messiaen’s music, Gagaku, the ancient court music of Japan, and other Pan-Asian ingredients. The three extra tracks that comprise BLAM! feature specia l guest Rudresh Mahanthappa on al to saxophone. Fiuczynski is jo ined on both port ions of h is latest re lease by former Microjam Inst i tute students Utar Artun on microtonal keyboard, Yazhi Guo on suona (Chinese oboe) and percussion, Helen Sherrah-Davies on v io l in, Jack Sherman on microtonal keyboard, Just in Schornstein on bass and Alex Bai ley on drums. On the opening “Loon-y Tunes,” he employed the cal ls of the Common Loon and the Carol ina Chickadee, then transposed the cal ls note-for-note onto fret less guitar, v io l in and microtonal keyboard. Pan-Asian aspects come into play in F iuczynski ’s Indian-f lavored sl ide guitar solo on th is f i rst t rack. The cal l of the Northern Night ingale is used on “Flam” whi le “Q&A Sol i ta i re,” a stunning showcase for v io l in ist Sherrah-Davies, employs the cal l of the Blackfaced Sol i ta i re. “Oiseaux JDi l l ique” incorporates JDi l la ’s f lam beats, Pan-Asian mot i fs and the cal l of the Night ingale whi le “Gagaku Chord Candy,” which contains elements of f ree jazz, has Fuze emulat ing an ancient Gagaku orchestra on his f ret less guitar whi le ut i l iz ing some of Messiaen’s chords. And the f inal p iece of FLAM!, “Waldst immen” (“Forest Voices”) repr ises al l the bird cal ls together for a f i t t ing conclusion. The three addit ional t racks feature f i re-breathing saxophonist Mahanthappa on “Uira Happy Jam,” which is ent i re ly based on the song of that sonorous Brazi l ian bird, the spare “Organ Wren,” and the intense closer “Loon-ly Sol i ta i re,” which has Fuze screaming with

distort ion- laced del ight on his f ret less guitar. “The connect ing t issue on al l these tunes is f lam,” he expla ins. “ I t ’s in the melodies, in the J Di l la beats, in the bird cal ls. Even the sound of the word ‘chirp’ is a f lam, which is basical ly the sound of two hits in succession close together. That ’s what connects i t a l l . Why I connected those three disparate th ings? That’s the art ist ic th ing. I just thought i t would be groovy.” FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/david-f iuczynskis-f lam-blam-pan-asian-microjam/s-IVRMs **************************************

ARTIST : NAKED TRUTH T ITLE : AVIAN THUG FORMATS : SINGLE CD / SINGLE LP (180GMS) (RED VINYL) CAT NO: : RNR057 (CD) / RNR057LP (LP) BARCODES : 5060197760793 (CD) / 5060197760809 (LP)

RELEASE DATES : JANUARY 22ND 2016

MUSICIANS: GRAHAM HAYNES – EL. CORNET LORENZO FELICIATI – EL. BASS, GUITARS, PRODUCTION ROY POWELL – HAMMOND, ANALOG SYNTHS, PREPARED PIANO PAT MASTELOTTO – DRUMS FOR FANS OF: MILES DAVIS (ELECTRIC PERIOD), RETURN TO FOREVER,

WEATHER REPORT, KING CRIMSON GENRES: JAZZ, ROCK, JAZZ-ROCK, PROGRESSIVE ROCK TRACKLIST (CD) : 1. RAPID FIRE 2. LAZY ELEPHANT 3. TRAP DOOR 4. TENSE SHAMAN 5. AVIAN THUG 6. DAY TWO AT BEDLAM 7. MOON AT NOON TRACKLIST (LP) : A1. RAPID FIRE A2. LAZY ELEPHANT A3. TRAP DOOR A4. TENSE SHAMAN B1. AVIAN THUG B2. DAY TWO AT BEDLAM B3. MOON AT NOON

BLURB

Recorded in the South Of England at the end of their 2013 European Tour, Avian Thug is the third studio album by jazz-‐rock ensemble Naked Truth, after Shizaru in 2011 and Ouroboros in 2012.

Founded by Italian bassist, producer composer and Lorenzo Feliciati, Naked Truth sees Graham Haynes resuming his role as trumpet/cornet player, Roy Powell man the Hammond organ, analog synths and prepared piano and finally Pat Mastelotto deliver his usual energy on acoustic and electric drums and percussion.

Avian Thug develops its themes across seven compositions, stretching from intensely furious electric jazz cavalcades, whose ancestry can be traced back both to Miles’ electric work but also more recent European progressive jazz and progressive rock, to extended soundscapes, whose colors are reminiscent of the work of Jon Hassell or Nils Petter Molvaer.

Over the last four years, Naked Truth’s writing style has become progressively more incisive and focused, aided by the very tight co-‐production work of Lorenzo Feliciati and Bill Laswell, who also is responsible for the final mix of Avian Thug. Graham Haynes’ trumpet tone has acquired clarity and expressiveness, Feliciati’s bass work is now more essential as are Powell’s presdigitations on analog keyboards and prepared piano, supported by Mastelotto’s polyrhythmic ever inventive and powerful electronic and acoustic drum and percussion work.

Naked Truth’s music was always recognizable as erupting from a magmatic cauldron of inventions; with Avian Thug it reaches a new maturity where instrumental prowess and poetic insight are tightly knit into a vigorous but balanced weave of form and substance.

FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/naked-truth-avian-thug/s- iarr9 **************************************

ARTIST : SLOBBER PUP T ITLE : POLE AXE FORMATS : SINGLE CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR056 (CD) / RNR056LP (LP) BARCODES : 5060197760779 (CD) / 5060197760786 (LP)

RELEASE DATES : JANUARY 22ND 2016

MUSICIANS: JAMIE SAFT – HAMMOND, ANALOGUE KEYBOARDS JOE MORRIS – ELECTRIC GUITAR MATS-OLOF GUSTAFSSON : SAXOPHONE BALAZS PANDI - DRUMS FOR FANS OF: LAST EXIT, SONNY SHARROCK, MATS GUSTAFSSON, MERZBOW GENRES: JAZZ, NOISE, PSYCHEDELIA TRACKLIST (CD) : 1. POLE OF COMBUSTIBLE MEMORY 2. BRING ME MY DESIRE AND ARROWS TO SHOOT 3. INCENDIARY AXE TRACKLIST (LP) : A1. POLE OF COMBUSTIBLE MEMORY (PT.1) B1. POLE OF COMBUSTIBLE MEMORY (PT.2) C1. BRING ME MY DESIRE AND ARROWS TO SHOOT D1. INCENDIARY AXE

BLURB: Two years after debuting with critically acclaimed debut album “Black

Aces”, Slobber Pup are back with their sophomore release, titled “Pole

Axe”.

The original core lineup of renowned American keyboardist and pianist

Jamie Saft (JS Trio, New Zion Trio, John Zorn’s Masada, Merzbow, The

New Standard, The Spanish Donkey), American guitar and double bass

free music legend Joe Morris and Hungarian hardcore drummer Balazs

Pandi (Wadada Leo Smith, Jamie Saft, Merzbow) is here augmented by

the presence of Swedish sax titan Mats-Olof Gustafsson.

Jamie Saft’s, Joe Morris’ and Balazs Pandi’s artistic relationship has been

steadily developing on RareNoiseRecords since late 2012 : Saft and

Pandi both played on Metallic Taste Of Blood; all three played on Slobber

Pup’s first release, and again with Wadada Leo Smith on Red Hill; Saft

and Morris both played on Plymouth (with Mary Halvorson, Chris Lightcap

and Gerald Cleaver) and The Spanish Donkey (with Mike Pride)

Recorded December 2013 in Jamie Saft’s Potterville International Sound

studio in the beautiful Catskills mountains, Pole Axe leverages the afore-

mentioned chemistry and the tumultuous, monolithic yet psychedelic

vigor of Mats Gustafsson’s reeds, yielding three boundless free-form

excursions .

This journey, which starts with the torrential “Pole Of Combustible

Memory”, continues with the equally extended “Bring Me My Desire And

Arrows To Shoot” (a title inspired by William Blake) and concludes with

Incendiary Axe, is a chiaroscuro stream of consciousness that might have

been burned on 35mm analog reel. Visions relentlessly follow visions,

temperature and texture changes flow into another without hardly rest.

The endless depth of Saft’s and Morris’ interplay, multiple analog synths

and organs engaged in a at times vertiginous dance with the guitar, is here

deeply complemented by Gustafsson’s saxophone multiform saxophone,

sustained by Pandi’s at times restrained, at times virulent drumming. Here

again one can sense the manifestation of the notion of glacial time

theorized by Morris – a state of deep listening between musicians, when

time is felt and understood by all, but does not need to be overtly stated.

Everyone is experiencing the pulse, yet everyone’s focus is on the larger

arc of the music.

REVIEWS/ QUOTES: “50 minutes of spir i tual jazz entropy and revelat ion” (MOJO ****) “Corrosive f lecks of acid- l ined spit t le pour forth from the jowls of Slobber Pup’s sophomore summit, canoniz ing mires of unholy cacophony in the f lames of an oozy bapt ism” (JAZZWISE ***) “Stunning second album” (ROCKAROLLA) “Cal ls back to dynamite blasts from the past by Machine Gun and Massacre” (NYC JAZZ RECORD) “A post-apocalypt ic tenor + jazz organ tr io, shot fu l l of morphine and uranium” (Al l About Jazz ****) FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/slobber-pup-pole-axe/s-BZWFW **************************************

ARTIST : ANIMATION T ITLE : MACHINE LANGUAGE FORMATS : SINGLE CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR055 (CD) / RNR055LP (LP) BARCODES : 5060197760755 (CD) / 5060197760762 (LP)

RELEASE DATES : SEPTEMBER 25 (CD) / OCTOBER 30 (LP)

DIFFERENT DATES!

MUSICIANS: PETE CLAGETT : ELECTRIC TRUMPET BOB BELDEN – SOPRANO SAX, ELECTRIC ALTO FLUTE ROBERTO VERASTEGUI : SYNTHESIZERS BILL LASWELL : EL. BASS MATT YOUNG : DRUMS KURT ELLING : NARRATOR FOR FANS OF: MILES DAVIS (ELECTRIC PERIOD), RETURN TO FOREVER,

WEATHER REPORT GENRES: ELECTRIC JAZZ, AMBIENT, DRUM’N BASS TRACKLIST (CD) : 1. A CHILD’S DREAM 2. MACHINE LANGUAGE 3. ETERNALITY 4. CONSISTENT IMPERFECTION 5. SOUL OF A MACHINE 6. GENESIS CODE 7. EVOLVED VIRTUAL ENTITY 8. DISAPPEARANNIHILATION 9. THE EVOLUTION OF MACHINE CULTURE 10. DARK MATTER 11. TECHNOMELANCOLIA 12. A MACHINE’S DREAM TRACKLIST (LP) : A1. A CHILD’S DREAM A2. MACHINE LANGUAGE A3. ETERNALITY B1. CONSISTENT IMPERFECTION B2. SOUL OF A MACHINE B3. GENESIS CODE C1. EVOLVED VIRTUAL ENTITY C2. DISAPPEARANNIHILATION C3. THE EVOLUTION OF MACHINE CULTURE D1. DARK MATTER D2. TECHNOMELANCOLIA D3. A MACHINE’S DREAM

BLURB (EXTRACT FROM BILL MILKOWSKI’S LINER NOTES) Tragically, this was Bob Belden’s last recording. The prolific, Grammy-winning composer-arranger-

producer and bandleader died of a massive heart attack on May 20 at age 58, just weeks before the

final mastering of this chilling opus. A beloved figure and well-informed wag on the New York jazz

scene, Belden was still basking in the glow of his triumphant February performance in Tehran with his

group Animation (it was the first time an American musician had played in Iran since 1979) when fate

struck and he slipped into a coma in his Upper West Side apartment, passing away in the hospital three

days later.

Belden’s final opus was finished but not yet mastered when he checked out. But the concept

had been long set in place for this recording with his band Animation, featuring guest bassist Bill

Laswell. After attending a day-long session at Laswell’s Orange Music Sound Studios in West

Orange, New Jersey, Belden informed me (with typical twinkle in his eye) that the project was going

to be called Machine Language. When asked for an explanation of the album title, he replied (with all-

knowing sly grin), “What would you do if your computer wanted to kill you?”

Listening to this darkly dystopian concept album made me wonder, “What would Miles Davis

have done had he lived long enough to create the soundtrack to Matrix”?

To help Belden realize his futuristic 2001: A Space Odyssey-inspired vision for Machine

Language, he enlisted vocalist Kurt Elling as narrator for this cyberpunk opera. “My own memory of

any conversations regarding the piece is that there was minimal discussion before making the voice

over,” said Elling, who had previously appeared on Belden’s 1996 project, Shades of Blue. “The only

real direction I received was to ‘sound like a sad, well-spoken computer.’ I did the actual recording by

myself at a studio in St Louis, with Belden occasionally commenting via ISDN. I did a cold read once

down, without music, and expected Bob to make whatever edits and adjustments he wanted. I was in

and out of the studio in an hour.”

Belden’s text for Elling reads like an excerpt from Philip K. Dick’s 1968 novel “Do Androids

Dream of Electric Sheep?,” which later became the literary source for the 1982 Ridley Scott movie

Blade Runner. And the darkly foreboding music, performed by Pete Claggett on muted trumpet,

Roberto Verastegui on electric keyboard, Matt Young on drums, Belden on soprano sax and Laswell

on electric bass guitar, takes part of its inspiration from Miles Davis’ 32-minute ambient requiem for

the recently-deceased Duke Ellington, “He Loved Him Madly” (from 1974’s Get Up With It).

REVIEWS (CONFIRMED IN ADVANCE) RECORD COLLECTOR : “TERRIFIC RECORD” (*****) MOJO : (****) MORE AS THEY ARE CONFIRMED FOR INFORMATION : [email protected] ************************************** SOUNDCLOUD LINK (PRIVATE – DO NOT ABUSE / DO NOT SHARE WITH THE PUBLIC) https://soundcloud.com/rarenoiserecords/sets/animat ion-machine-language/s-XRkca **************************************

ARTIST : METALLIC TASTE OF BLOOD T ITLE : DOCTORING THE DEAD FORMATS : SINGLE CD / SINGLE LP (180GMS) CAT NO: : RNR053 (CD) / RNR053LP (LP) BARCODES : 5060197760717 (CD) / 5060197760724 (LP)

RELEASE DATES : JUNE 8TH 2015

MUSICIANS: ERALDO BERNOCCHI – GUITARS, ELECTRONICS COLIN EDWIN – BASS GUITAR, EBOW TED PARSONS : DRUMS WITH: ROY POWELL : ADDITIONAL KEYBOARDS,

ELECTRONICS FOR FANS OF: TOOL, GENRES: MATH ROCK, METAL, DUB, PROGRESSIVE

ROCK, AVANT-ROCK, INDUSTRIAL TRACKLIST (CD) : 1. IPSISSIMUS 2. PASHUPATI 3. SYNTHETIC TONGUE 4. DOCTORING THE DEAD 5. BLIND VOYEUR 6. DAY OF BONES 7. MURDER BURGER 8. THE DEATH OF PAN TRACKLIST (LP) : A1. IPSISSIMUS A2. PASHUPATI A3. SYNTHETIC TONGUE A4. DOCTORING THE DEAD B1. BLIND VOYEUR B2. DAY OF BONES B3. MURDER BURGER B4. THE DEATH OF PAN

BLURB: Metal l ic Taste Of Blood, the instrumental math-rock/outer rock unit lead by Italian guitarist and soundsculptor Eraldo Bernocchi and Australian bassist Col in Edwin is back with a vengeance, joined now by legendary drummer Ted Parsons, whose earlier ventures included Swans, Prong, Buckethead, Godf lesh and Ki l l ing Joke, and British keyboard player extraordinaire Roy Powell, whose recent work includes InterStat ic and Naked Truth.

The vigour and inventiveness which characterised Metallic Taste Of Blood’s first release still sits center stage, a natural outflow of the band founder members’ very wide palette of musical experiences/collaborations and individual talents, spanning an incredibly rich vocabulary which extends from ambient and electronica, to progressive rock and avant-jazz, to noise and industrial electronics, all firmly anchored by the deep and precise dub beats laid out by Ted Parsons, sparkled, on select tracks, by the surprising keyboard inventions of Powell.

This variety of influences and musical idioms manifests itself in a very specific kind of sound, one that is now characteristic of the band, one which is predicated and thrives on the very notion and practice of the contraposition of opposites. The music of Metallic Taste Of Blood is both incredibly brutal and delicate, distorted, but incredibly clear, boiling hot and yet suddenly very cool, sweet yet suddenly brackish, that very peculiar unity in contradiction to which the band’s own name refers to.

Doctoring The Dead, recorded in Prague at Faust Studios, mixed in Italy and mastered in the US by Mike Fossenkemper, though moves ahead towards new territory by bringing in a new, focused single-mindedness; witness to this are the album’s eight tracks, starting with Ipsissimus, where an deep dub rhythm section supports the entangled duel of baritone electric guitar and synth, to Pashupati, whose guitar lines dance between extreme cleanliness and growling distortion, to the cosmic Ambient Bass inflections of Synthetic Tongue, to the calming riff and distorted electronica

of the title track, to Blind Voyeur’s beyond-post-rock grandeur, the dark ambient glitch of Day of Bones, and further down to Murder Burger (!) and beyond, towards the closing Death Of Pan.

Out of contrast perfect balance is reached, when distorted guitars sound clean and soothing, while cascades of piano notes suddenly morph into threatening shards – listening to this will lift you into a state not unlike that of cognitive dissonance, one of deep, uncomfortable enjoyment.

FOR INFORMATION : [email protected]

ARTIST : MERZBOW, MATS GUSTAFSSON, BALAZS PANDI, THURSTON MOORE T ITLE : CUTS OF GUILT, CUTS DEEPER FORMATS : DOUBLE CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR052 (CD) / RNR052LP (LP) BARCODES : 5060197760632 (CD) / 5060197760649 (LP)

RELEASE DATES : MARCH 25 (CD) / APRIL 23 (LP)

DIFFERENT DATES!

MUSICIANS: MERZBOW (MASAMI AKITA) : NOISE

ELECTRONICS MATS GUSTAFSSON : REEDS AND LIVE

ELECTRONICS THURSTON MOORE : ELECTRIC GUITAR BALAZS PANDI : DRUMS FOR FANS OF: MERZBOW, NOISE POWER ELECTRONICS GENRES: NOISE, EXTREME NOISE, DRONES, POWER

ELECTRONICS TRACKLIST (CD) : CD1: 1. replaced by shame – only two left 2. div ided by steel. fa l l ing graceful ly CD2: 1. too late, too sharp – i t is over 2. a l l h is teeth in hand, asking her once more TRACKLIST (LP) : A1. replaced by shame – only two left B1. div ided by steel. fa l l ing graceful ly C1. too late, too sharp – i t is over D1. a l l h is teeth in hand, asking her once more BLURB: How did renowned Japanese noisemaker Merzbow (aka Masami Akita), Swedish saxophonist Mats Gustafsson and Hungarian drummer Balazs Pandi follow up their majorly intense statement made on their tumultuous debut album, Cuts, which was released in 2013. By adding another ingredient to the

volatile mix, in the person of skronking guitar hero and Sonic Youth founder Thurston Moore they’ve taken things up a notch or two on the Richter scale on their RareNoise Records follow-up recording. With Gustaffson’s roaring baritone sax blending with Moore’s shriekback guitar, Pandi’s intensely throbbing beats and Merzbow’s subversive white noise barrages, it all adds up to a sonic pummeling of epic proportions on the remarkable two CD-set, Cuts of Guilt, Cuts Deeper- the album will be released on April 13th on CD, vinyl and Hi-Res digital download.

In a post-Cage-ian world where there are no wrong notes – in fact, no notes at all, just silence and the absence of silence – the enigmatic Merzbow is a Magellan of sound, fearlessly traveling uncharted waters on each new project he undertakes (he has made over 350 recordings since 1979). Born on December 19, 1956 in Tokyo, he was originally attracted to rock guitarists like Jimi Hendrix, Lou Reed and Robert Fripp, and later was influenced by free jazz icons Albert Ayler, Cecil Taylor and Frank Wright as well as electronic music pioneers like Karlheinz Stockhausen and Iannis Xenakis. “Then I found the forum for mixing these influences into pure electronic noise,” he said in a 1999 interview with EsoTerra Magazine: The Journal of Extreme Culture. “I was trying to create an extreme form of music.”

Merzbow has found true kindred spirits in Pandi, who has collaborated with him since 2009, and Gustafsson, a stalwart on the Scandinavian free jazz scene. Pandi’s explosive drumming has propelled such other experimental bands as Blood of Heroes, Redhill featuring Wadada Leo Smith ( on RareNoiseRecords), Zu and two other groups also from the RareNoise roster – Obake , guitarist and vocalist Lorenzo Fornasari) and Metallic Taste of Blood (featuring guitarist Eraldo Bernocchi), Porcupine Tree bassist Colin Edwin and keyboardist Jamie Saft). Gustafsson is a member of the Fire! Orchestra, the Barry Guy New Orchestra and The Thing with drummer Paal Nilssen-Love and bassist Ingebrigt Håker Flaten. He has also worked with many free jazz musicians including German drummer Paul Lovens, Dutch pianist Misha Mengelberg, Chicago-based saxophonist Ken Vandermark, New York-based trumpeter/saxophonist Joe McPhee, New York-based drummer Hamid Drake and the Italian experimental band Zu. He claims Little Richard, The Cramps and Entombed as early inspirations in his musical development. “I started off playing electric piano in a local punk band in my home town Umeå when I was 13,” he says. “I was lucky to grow up in northern Sweden in a small university town that actually had a jazz club and a very active music scene. I heard Steve Lacy, Sonny Rollins, Derek Bailey and Per Henrik Wallin really early as my main jazz kicks. But as Evan Parker used to say, ‘My roots are in my record player.’

Thurston Moore, a ferocious axe-mangler from the Sonny Sharrock “shards of splintered glass” school, formed the alternative rock group Sonic Youth with bassist-vocalist Kim Gordon in 1981. They were later married in 1984. Alongside fellow guitarist Lee Renaldo, Moore made extensive use of unusual tunings and feedback, straddling the inside-outside divide on 16 studio albums, including influential recordings like 1990’s Goo, 1992’s Dirty, 1994’s Experimental Jet Set, Trash and No Star and 2004’s Sonic Nurse. Since disbanding Sonic Youth in 2011, Moore has recorded solo projects, including 2011’s Demolished Thoughts and 2014’s The Best Day. In 2014, he performed a searing duet with fellow experimental guitarist Nels Cline as part of an Ornette Coleman 84th birthday celebration in Brooklyn’s Prospect Park.

“The original trio was initiated by Balazs,” says Gustafsson. “He and Masami have played some together before. I played together with Masami and Sonic Youth and also made various recordings with him and Jim O’Rourke in Japan. I had never played with Balazs before, so I was delighted to work with him on the first Cuts project.” The three free spirits forged an indelible chemistry on a tour

together prior to recording Cuts. “This group really hit something amazing during that tour and we took that energy into the studio.”

For Cuts of Guilt, Cuts Deeper, the four kindred spirits went into the studio and came up with four extended tracks. CD 1 is comprised of the 20-minute “replaced by shame, only two left” and the 18-minute “divided by steel, falling gracefully.” CD 2 contains the dynamic 21-minute jam “too late, too sharp -- it is over” and the extreme anthem “all his teeth in hand, asking her once more.”

Drummer Pandi calls it ‘mystery in sound.’ As saxophonist Gustafsson said of their purely improvised session, “We had no game plan. That usually does not work so well. It all depends on the day, the energy and of course the room. And oh boy, that room was freakin’ spectacular! It actually had a skateboard ramp! It was a truly spectacular recording. It went super-fast -- just a wall of noise-poetry with layers and perspectives changing all the time. And to have Thurston Moore in the mix just added colours, layers, energies and sound. It was a very inspired sharing with the others.”

Pandi provides a bit of history on the evolution of this Cuts quartet. “There is a legendary Roskilde live recording of Sonic Youth with Mats and Masami called ‘Andre Sider Af Sonic Youth’ and as a combination of that record and my longstanding duo with Masami, the idea came to try and play a quartet. Those were the days of the last couple Sonic Youth shows in South America, around 2012. Following that, Masami, Mats and I continued to work as a trio. Meanwhile, in 2013 I got invited to join Porn for a string of gigs. Porn masterminded by Tim Moss and Bill Gould from Faith No More and for the London shows Thurston joined us on stage - it was great fun to play together. When we hung out backstage, we were talking about trying to hook up a quartet session sometime with Mats and Masami again. We already had a gig planned with the trio in London, where Thurston currently lives, so we figured the only day he is spending around that time in London is the one we had for recording the follow album up to Cuts. So he was on board immediately.”

As for how this new Cuts project with Moore may differ from their first Cuts outing, Pandi remains philosophical. “From my side, I can’t really talk about differences. I don’t approach anything differently. There are no tactics, concepts, nothing. Only deep listening and playing accordingly. I learned that from Masami early on. The night of our very first show, I approached him backstage, introducing myself. As it was the first time we met, I thought we would sit down and discuss any concept he may have wanted to talk through. But when I asked him about it, he only said one word -- ‘improvisation.’ That’s how it always is with Masami. And that’s how we approached this new recording in the studio.


ARTIST : THE SPANISH DONKEY T ITLE : RAOUL FORMATS : SINGLE CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR054 (CD) / RNR054LP (LP) BARCODES : 5060197760731 (CD) / 5060197760748 (LP)

RELEASE DATES : MARCH 25 (CD) / APRIL 23 (LP)

DIFFERENT DATES!

MUSICIANS: JOE MORRIS – ELECTRIC GUITARS JAMIE SAFT – HAMMOND AND KORG ORGANS,

MINIMOOG SYNTHESIZER, ECHOPLEX PIANO MIKE PRIDE : DRUMS FOR FANS OF: SLOBBER PUP, MAHAVISHNU ORCHESTRA,

JOHN COLTRANE (ASCENSION) GENRES: MICROTONAL BLUES-METAL TRACKLIST (CD) : 1. RAOUL 2. BEHAVIORAL SINK 3. DRAGON FLY JONES TRACKLIST (LP) : A1. RAOUL (PART 1) B1. RAOUL (PART 2) C1. BEHAVIORAL SINK D1. DRAGON FLY JONES BLURB: The sound of Joe Morris’ electric guitar, with distortion pedal set on stun and wah-wah pedal fully engaged, colliding with Jamie Saft’s droning, microtonal organ and Mike Pride’s thunderous free drumming approach to the kit creates a mind-numbing maelstrom on The Spanish Donkey's RAOUL, the improvising trio’s debut on RareNoise records. A follow-up to XYX, their 2011 album, which was released on Northern Spy Records. The album consists of three throbbing tracks -- the brutal 32-minute title track ‘Raoul, the 22-minute “Behavioral Sink” and 16-minute Echoplex piano feature “Dragon Fly Jones” -- that showcase The Spanish Donkey's remarkable group-think as well as the individual player’s uncanny intuition on their respective instruments. More intensely cathartic, startlingly original and compelling than anything you’ve ever heard -- imagine a mash-up of John Coltrane’s Interstellar Space and Lou Reed’s Metal Machine Music -- RAOUL stands as a hellacious manifesto by one of the most formidable improvising trios around today.

“We’re not trying to sound like anything that anyone expects,” says Morris. “We’re trying to come up with something that surprises us and fulfills the musical expectation that we have for ourselves. So in that whole realm of big loud screaming guitar, what we do sounds unique.”

“To me, The Spanish Donkey is deeply rooted in the blues,” says Saft. “In terms of my concept for going into the studio for this record, it really was this idea of creating a monolithic, microtonal blues vibe and having Joe react to that. Joe is one of the few musicians that can really work within a deep microtonal environment. He is on such a high level with his intuitive approach to microtones and improvising within that space, creating in that ‘glacial time feel,’ as he puts it. And so this record essentially is us applying that microtonal blues thing to our free improvising path, and trusting that path completely.”

Drummer Pride, who has collaborated with saxophonist-composer Anthony Braxton, Millions of Dead Cops and the Boredoms, is the perfect complement to Morris’ caustic intensity and Saft’s microtonal explorations on RAOUL. “For me, Mike also has a freedom and a level of trust in the path that is unique,” says Saft. “He is able to shape these larger form compositions while still staying deeply involved in the micro levels of rhythmic division and harmonic color. In the smaller trio format with these particular improvisers it’s much easier to create something that’s loud and brutal while keeping the intensity going throughout an entire 32-minute tune. There are not many musicians in this world that can keep that intensity of focus for that long. Mike is certainly one of them and Joe is a master at that. It’s something that you only find in a really rarefied group of musicians. So I feel incredibly fortunate to play with musicians like that.”

Morris describes his modus operandi on RAOUL: “In The Spanish Donkey, I blend a lot of different effects together and actually improvise with effects. I don’t usually set effects like a rock guitar player; I improvise with a whole sonic palette. So I am constantly switching effects on and off, whether it’s delay, fuzz, ring modulator or whatever. There are a lot of different things going on but it’s a very narrow range that we’re working in, in terms of time and harmony. It’s trying to do a lot with very little. It’s about making a very intense thing happen with a slow time feel and a very tight tonal range.” P.T.O

As a guitarist, Morris, who turns 60 this year, is a legend within free jazz or new music circles, having released over 40 records as a leader since 1983 and appearing as a sideman on another 50 or so albums. He has previous collaborated with keyboardist Saft on the RareNoise Records Plymouth, Red Hill and Slobber Pup’s Black Aces. Morris describes his approach to playing the guitar over the past three decades of recordings. “I try to be as legitimate and sincere and as thorough and outrageous as I can with every one of them. And sometimes being outrageous means that you don’t do things that are flashy or what anybody else expects. I’d say that’s all I’ve ever tried to do on guitar. I never wanted to be a fusion guitar player or a jazz guitar player or country guitar player or heavy metal guitar player. Every time I pick up the thing, I’m trying to be myself, no matter what the situation is. And that means I have to follow very closely to what my knowledge is of everything and to try to always be completely sincere in the way that I deal with everything.”

Says Saft, “Joe is able to deal with the fluidity of time, pitch, harmony, tonality, tone color in a way that very few guitarists I’ve ever heard can do. It’s something really special. And so, for me, to put that in a blues context with this sort of strong tone center that we focus on for each tune and build around, and then apply all those same ideas of the micro levels of pitch, tone, rhythm to putting together our

tracks, this is something unique and seldom heard. That’s really the approach to the composition, in my mind. And there’s nothing that really needs to be spoken between us, because when you play with people like Joe Morris, you’re playing with a master. I don’t need to say anything to him. He can react immediately to all these little shadings in a way that few other musicians can.”

From track to track, Morris, Saft and Pride defy all expectations with their balance between complete abandon and refined control on RAOUL. “I’m trying to make what I think is unique music, and that’s not easy,” says Morris. “You have to work really hard and sometimes you have to make decisions that draw people in in a new way rather than play to what they expect. Some people might listen to this record and say, ‘You’re just playing to the energy and it’s out of control.’ But it’s a really delicate process, almost like sculpting marble, to get that kind of intensity there. And I think that’s one of the things that Spanish Donkey does really well is that we can hold to this very, very tight precision and keep it there. And to go there and keep it there requires a tremendous precision and, above all, listening.”

“The world doesn’t need more free-wanking records,” adds Saft. “And I think this record is actually the furthest thing from that in that it’s a very carefully crafted monolith, large form improvisation based in the microtonal blues world. You have to be open to finding something new, and you hear that search in this record. Joe is redefining what the blues guitar could even conceive of being on this record. It’s not just something that you see and you grab and you put on the tape, it’s something that you’re constantly looking for. To borrow Joe Morris' term, it’s the 'perpetual frontier'.”


ARTIST : FREE NELSON MANDOOMJAZZ T ITLE : AWAKENING OF A CAPITAL FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR051 (CD) / RNR051LP (LP) BARCODES : 5060197760694 (CD) / 5060197760700 (LP)

RELEASE DATES : FEBRUARY 23 (CD) / MARCH 9 (LP)

DIFFERENT DATES!

MUSICIANS: REBECCA SNEDDON - SAXOPHONE COLIN STEWART : BASS PAUL ARCHIBALD : DRUMS FOR FANS OF: SUNN((( (0) ) ) ) , PAINKILLER, KIL IMANJARO

DARKJAZZ ENSEMBLE, MOUNT FUJI DOOMJAZZ CORPORATION

GENRES: DOOM JAZZ TRACKLIST (CD) : 1. SUNN RA)) ) 2. THE STARS UNSEEN 3. THE LAND OF HEAT AND LIGHT 4 POKING THE BEAR 5. THE PILLARS OF DAGON 6. ERICH ZANN 7. SLAY THE LIGHT 8. BENEATH THE SEA TRACKLIST (LP) : A1. SUNN RA)) ) A2. THE STARS UNSEEN A3. THE LAND OF HEAT AND LIGHT A4 POKING THE BEAR B1. THE PILLARS OF DAGON B2. ERICH ZANN B3. SLAY THE LIGHT B4. BENEATH THE SEA

BLURB: Fol lowing on the strength of their provocat ive double EP, Shape of Doomjazz to Come/Saxophone Gigant icus , the Scott ish free jazz-meets-doom/stoner rock tr io Nelson Mandoomjazz performs more crunching anthems on Awakening of a Capita l . Fueled by the imposing fuzz-bass bass l ines of Col in Stewart and the slamming backbeats of drummer Paul Archibald and featur ing the scorching al to sax work of Rebecca Sneddon, th is renegade power tr io named jo int ly for the late South Afr ican freedom f ighter Nelson Mandela and the heavy-duty genre of improvised music known as ‘doomjazz’ str ikes another blow for the freedom pr inciple on their second RareNoise out ing. From the mournful d irge “The Stars Unseen” to the dark, tempo-shif t ing “The Land of Heat and Greed,” marked by Sneddon’s squeal ing mult iphonics over the top of a tr ibal groove, to the teeth-chatter ing intensity of “Poking the Bear,” the formidable tr iumvirate f rom Edinburgh summons up thoughts of Slayer jamming with avant garde icon Albert Ayler or a l to saxophonist John Zorn with bassist Bi l l Laswel l and former Slayer drummer Dave Lombardo. Elsewhere on Awakening of a Capito l, Sneddon turns in some freewheel ing blowing in the al t iss imo range on “Slay the Light,” skronks with impunity on the probing “The Pi l lars of Dagon,” which features a str ing quartet, and wai ls on the maelstrom of “Er ich Zann,” a haunt ing piece named after an H.P. Lovecraft short story f rom 1922. In a l l , th is second manifesto by Nelson Mandoomjazz is heavier than heavy, darker than dark, yet a lways reta in ing a deep sense of humour.

REVIEWS/QUOTES: MARLBANK A big leap forward on their in i t ia l shot in the dark The Shape of Doomjazz to Come/Saxophone Gigant icus Free Nelson Mandoomjazz return with Awakening of a Capita l to be re leased by RareNoise in February. Taking a less mocking approach in their choice of a lbum t i t le th is t ime around – the record owes i ts name to an ear ly 20th century futur ist exper imental recording – droney doom metal fused with f ree-jazz remains the name of the game, succinct ly summed up in opener ‘Sunn Ra)) ) ’ : namechecking Sun Ra cunningly fo lded into Doom heroes Sunn O)) ) . Operat ing best when the fuzzy bass of Col in Stewart wreaks havoc, drummer Paul Archibald keeps i t re lat ively s imple beat ing a sol id tattoo of set patterns leaving saxophonist Rebecca Sneddon no opt ion but to smash her way out of musical ja i l with her f iendishly fera l squeals and bursts of energy. The tunes have re lat ively stra ightforward uncompl icated structures to them often bui l t s imply around meaty r i f fs generated by bass and drums served up scalding hot. FOR INFORMATION : [email protected]

ARTIST : SPIN MARVEL T ITLE : INFOLDING FORMATS : CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR049 (CD) / RNR049LP (LP) BARCODES : 5060197760656 (CD) / 5060197760663 (LP)

RELEASE DATES : FEBRUARY 23 (CD) / MARCH 9 (LP)

DIFFERENT DATES!

MUSICIANS: MARTIN FRANCE : DRUMS TIM HARRIES : BASS TERJE EVENSEN : L IVE ELECTRONICS NILS PETTER MOLVAER : TRUMPET EMRE RAMAZANOGLU : ADDITIONAL DRUMS FOR FANS OF: NILS PETTER MOLVAER, NORDIC JAZZ,

ELEPHANT 9, DATAROCK, PANZERZAPPA, JON HASSELL AND BRIAN ENO

GENRES: NORDIC JAZZ, ELECTRIC JAZZ, PROG JAZZ,

JAZZ, JAZZ NOISE TRACKLIST (CD) : 1. CANONICAL 2. TUESDAY’S BLUES 3. TWO HILL TOWN 4 LEAP SECOND 5. SAME HAND SWISS DOUBLE PUG 6. MINUS TWO TRACKLIST (LP) : A1. CANONICAL A2. TUESDAY’S BLUES B1. TWO HILL TOWN B2. LEAP SECOND C1. SAME HAND SWISS DOUBLE PUG D1. MINUS TWO

BLURB: “ Info ld ing” is the Spin Marvel ’s th i rd re lease and f i rst on RareNoiseRecords; i t is the brainchi ld of drummer Mart in France, br i t ish bassist T im Harr ies (once part of Bi l l Bruford’s Earthworks), and norwegian sound sculptor/percussionist Ter je Evensen, here jo ined by Norwegian trumpet master Ni ls Petter Molvaer and addit ional drummer / producer Emre Ramazanoglu (on “Minus Two”). Together they create spacious and dramatic soundscapes of profound intensity on the start l ingly or ig inal In fo ld ing , b lending aspects of f ree jazz, ambient music and electronica in provocat ive ways. From the serene to the unsett l ing, th is latest Spin Marvel project morphs into a myr iad of moods and melodies over the course of s ix dynamic tracks. “Canonical” opens with an airy ambient touch before exploding into free jazz tumult paced by Harr ies’ throbbing fuzz bass and France’s powerfu l t raversing of the k i t , with Molvaer’s h ighly processed cathart ic wai l layered over the top. “Tuesday’s Blues” opens with spacious trumpet before gradual ly evolv ing into an in-the-moment adventure anchored by Harr ies’ hel lacious fuzz bass and France’s interact ive, Elv in Jones-inspired swing beat. “Two Hi l l Town” has Molvaer creat ing hal f- t ime trumpet melodies that f loat dreami ly over France’s s immering pulse before the proceedings heat up to a turbulent boi l . “Leap Second” makes dramatic use of s i lence and echo, with Molvaer’s haunt ing trumpet tones resounding over France’s subt le brushwork before the piece bui lds to an intense crescendo. The 16-minute “Same Hand Swiss Double Pug” opens as a k ind of ambient bolero before France bursts into a Buddy Rich sty led f lurry on the snare drum midway thru, t r igger ing a change in mood that culminates in a f reewheel ing col lect ive improv.

And the col lect ion closes on a haunt ing and kinet ic note with the echo-laden “Minus Two,” Emre’s lone drumming showcase. REVIEWS/QUOTES: Mar lbank (Stephen Graham) (****) Spin Marvel paint mountain-distant pictures, rangey aural landscapes emerging from as far as the ear can even hope to detect. I t ’s worth stepping back for a minute to consider how far they have developed gett ing on for a decade on from their eponymous 2006 debut. In those days i t was Mart in France, the pater fami l ias of the band, electronic ist Ter je Evensen, bass guitar ist T im Harr ies and the now (at least on th is latest record) departed guitar ist John Parr icel l i . There was no sign of Ni ls Petter Molvær back then. More droney, perhaps, or textural in those days, the sound got a l i t t le more industr ia l and certa in ly ambient four years later with NPM join ing and providing a turning point on Spin Marvel 2 , aka ‘The Reluctant ly Pol i t ic ised Mr James.’ In fo ld ing d ispenses with the serv ices of Parr icel l i and adds in something of a cameo at the end from drummer Emre Ramazanoglu. Seeing the band l ive towards the end of 2013 with Tord Knudsen’s v isuals an addit ional e lement for a Kings Place show with their r ibbon-l ike f lut ters fa l l ing down a busy screen, saturated colours part of a tech-heavy prog iconography and that palpable sense of a l ienat ion never far away, i t was pretty c lear that their sound, s imi lar to what’s turned out here, had moved away from the ski t ter ing house music feel of ear l ier mater ia l such as Pol i t ic ised t rack ‘Black Dogs Company.’ Info ld ing, the dict ionary meaning render ing th is exot ic coinage a “ fo ld ing inwardly or toward one another” bears th is shi f t out in the sense that th is latest a lbum is more int imate but at the same t ime

fu l l of intensity. Within th is there are some glor iously stark bal ladic moments, for instance on ‘Tuesday’s Blues’ that are worth the pr ice of purchase alone, the band adept at creat ing atmospheres that st ick in the mind for ages. The tunes are al l band wri t ten whether the process of composit ion was achieved through free improvisat ion I ’m not sure but very possibly in parts as there seems to be a lot of spontaneity with in the f low of the album, a big part of i ts appeal. Ter je Evensen’s programming and effects and the febr i le drumming of France l ie at the l iquid heart of i t a l l whi le NPM’s dark inter ject ions and fragi le tendernesses (on ‘Leap Second’ for instance) provide int imate moments to contrast with the enveloping f i repower elsewhere. The baff l ingly t i t led ‘Same Hand Swiss Double Pug’ has an incredible sonic effect at the beginning, resembl ing some sort of b izarre underwater snore. Ult imately on ‘Minus Two’ ( the track Ramazanoglu jo ins on) the sense of a l ienat ion that is never far away from anything Spin Marvel touches is st i l l a potent force – and thank goodness for that. FOR INFORMATION : [email protected]

ARTIST : JÜ and KJETIL MØSTER T ITLE : JÜ MEETS MØSTER FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR047 (CD) / RNR047LP (LP) BARCODES : 5060197760618 (CD) / 5060197760625 (LP)

RELEASE DATES : NOVEMBER 24 (CD) / DECEMBER 15 (LP)

DIFFERENT DATES!

MUSICIANS: ADAM MESZAROS : GUITAR ERNO HOCK : BASS ANDRAS HALMOS : DRUMS KJETIL MØSTER : TENOR AND BARITONE SAX FOR FANS OF: MAHAVISHNU ORCHESTRA, WEATHER REPORT,

ELEPHANT 9, DATAROCK, PANZERZAPPA, LAST EXIT, ARCANA (BILL LASWELL/PHAROAH SANDERS/ TONY WILLIAMS), JOHN COLTRANE

GENRES: JAZZ ROCK, JAZZ PUNK, PROG JAZZ, JAZZ TRACKLIST (CD) : 1. DEAR JOHANN 2. BHAJAN 3. MORZE (FOR ÁGOSTON BÉLA) 4 HASSASSIN 5. KJÜ 6. ONE TRACKLIST (LP) : A1. DEAR JOHANN A2. BHAJAN B1. MORZE (FOR ÁGOSTON BÉLA) B2. HASSASSIN B3. KJÜ BLURB: Worlds col l ide when the raucous Budapest-based underground power tr io JÜ (consist ing of f i re-breathing guitar ist Adàm Mèszaros, rock sol id fuzz-bassist Ernö Hock and the remarkably f lex ib le drummer Andras Halmos) jo ins Oslo-based saxophonist Kjet i l Møster for th is subversive meet ing of the minds on RareNoise Records. A

powerfu l manifesto for ecstat ic, exploratory, envelope-pushing, in-the-moment music, mixed by Bi l l Laswel l and mastered by Michael Fossenkemper, Ju Presents Kjet i l Moster bridges the gap between free jazz and hel lacious, distort ion- laced, guitar-dr iven hardcore rock. Music th is ferocious hasn’t been heard since Laswel l ’s late, lamented Last Exi t with Sonny Sharrock, Ronald Shannon Jackson and Peter Brotzman. The album opens on an explosive note with a turbulent tenor sax-drums breakdown between Moster and Halmos on “Dear Johan” which takes on the feel of lat ter day John Coltrane or f ree jazz icon Albert Ayler jamming with the Al lman Brothers Band on “Whipping Post” or v intage King Cr imson on “21st Century Schizoid Man.” “Bhajan” opens on a darker, more myster ious v ibe before bui ld ing to a potent crescendo, with Moster wai l ing on bar i tone sax, that is steeped in the tradit ion of J imi Hendr ix ’s bold jazz-rock anthem “Third Stone From the Sun.” Moster stretches freely with bar i tone sax on the moody and spacious “Morze” whi le “Hassassin,” fu l l of s lamming unisons and f ierce overblowing by Moster, is an intense showcase for drummer Halmos. Meszaros adds another f rant ic s ix-str ing onslaught at the tag of th is intense offer ing. The four intrepid improvisers explore col lect ively on the more atmospher ic “KJU” and they close out the col lect ion with the expansive, 15-minute “One,” which makes dramatic use of echo to create an otherworld ly texture before bui ld ing to a powerhouse conclusion of thunderous proport ions. FOR INFORMATION : [email protected]

ARTIST : MOLÈ T ITLE : RGB FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR046 (CD) / RNR046LP (LP) BARCODES : 5060197760595 (CD) / 5060197760601 (LP)

RELEASE DATES : NOVEMBER 24 (CD) / DECEMBER 15 (LP)

DIFFERENT DATES!

MUSICIANS: MARK AANDERUD : PIANO, KEYBOARDS STOMU TAKEISHI : BASS HERNAN HECHT : DRUMS FOR FANS OF: ESBJORN SVENSSON TRIO, GOGO PENGUIN,

PHRONESIS GENRES: MODERN JAZZ TRACKLIST (CD) : 1. SUB-ALL 2. REASONS 3. TRICHROMATIC 4. WINIP 5. FREELANCE 6. RODRIGUEZ 7. T.OVERLAP 8. INE SEST 9. WIX TRACKLIST (LP) : A1. SUB-ALL A2. REASONS A3. WINIP B1. RODRIGUEZ B2. INE SEST B3. WIX BLURB: TWO YEARS AFTER RELEASING THEIR FIRST ALBUM ON RARENOISE, MOLE’ RETURN WITH THEIR NEW ALBUM, CALLED RGB. MOLE’ PRESENT THEMSELVES NOW IN TRIO FORMATION, WITH

JAPANESE WONDER BASSIST STOMU TAKEISHI ON BASS DUTIES. COMPARED TO 2012’s “WHAT’S THE MEANING”, THE MUSIC HAS BECOME MORE ANGULAR, RHYTHMIC, AS ALWAYS SUSTAINED BY DRUMMER HERNAN HECHT (HIMSELF A GRAMMY WINNER AS A PRODUCER), WHO INCESSANTLY PROPELS THE MUSIC FORWARD WITH POLYRHYTHMIC VIRTUOSITY. MOLE’S SIGNATURE SOUND, WHOSE ORIGIN IS TO BE FOUND IN THE EXCELLENT AND MELODIC WRITING OF MARK AANDERUD, IS ALWAYS PRESENT THOUGH. MOLE’S MUSIC WILL DEEPLY PLEASE FANS OF MODERN JAZZ PIANO TRIO (THE ESBJORN SVENSSON TRIO, GOGO PENGUIN, PHRONESIS), AS THEY OFFER A TAKE THAT ON THE MUSIC THAT IS MORE RHYTHMIC AND SINGING, AS CAN BE EXPECTED WHEN CONSIDERING THEIR SOUTH AMERICAN ROOTS (ARGENTINA AND MEXICO). QUOTE (PROG MAGAZINE, ABOUT “WHAT’S THE MEANING?”) “HAUNTING AND MAGNIFICENT” FOR INFORMATION : [email protected]

ARTIST : OBAKE T ITLE : MUTATIONS FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR045 (CD) / RNR045LP (LP) BARCODES : 5060197760571 (CD) / 5060197760588(LP)

RELEASE DATES : NOVEMBER 3 (CD) / NOVEMBER 23 (LP) (THREE

WEEKS LATER FOR VINYL!

MUSICIANS : ERALDO BERNOCCHI – GUITARS LORENZO FORNASARI – VOICE COLIN EDWIN – BASS BALAZS PANDI - DRUMS FOR FANS OF: SUNN((( (0) ) ) ) ) , ULVER, OBAKE GENRES: ABSTRACT METAL, HEAVY METAL TRACKLIST (CD) : 1. SEVEN ROTTEN GLOBES 2. SETH LIGHT 3. TRANSFIGURATION 4. THANATOS 5. SECOND DEATH OF FOREG 6. BURNT DOWN 7. M 8. INFINITE CHAIN TRACKLIST (LP) : A1. SEVEN ROTTEN GLOBES A2. SETH LIGHT A3. TRANSFIGURATION A4. THANATOS B1. SECOND DEATH OF FOREG B2. BURNT DOWN B3. M B4. INFINITE CHAIN

BLURB: Obake, are now in a new format ions with Lorenzo Esposito Fornasar i (vocals, piano, e lectronics), Eraldo Bernocchi (guitar, e lectronics),Balazs Pandi (drums) and Col in Edwin (Porcupine Tree – bass). This second album, Mutat ions arr ives at the place where the energies of metal fuse with ambient e lectronica, jazz, and noise with the precis ion of math-rock and the groove of blues. Obake's sound harks back to the dawn of hard-rock, drawing upon a var iety of inf luences from Sunn 0)) ) , Popul Vuh, Ashra Tempel as much as Slayer, Tool, Melv ins and Coi l . Obake are made al l the more dist inct ive by the f lu id lyr ical del ivery and musings of a commanding operat ic voice. Imposing in i ts darkness, encompassing in i ts beauty and ever powerfu l, Obake have lost nothing of their might s ince the re lease of their debut, i f anything, they are more capt ivat ing now than ever before. Mutat ions was recorded by Daniel Sandor at Metropol Studio in Budapest, produced and mixed by Eraldo Bernocchi and Lorenzo Esposito Fornasar i at The Place in Tuscany and mastered by Michael Fossenkemper at Turt letone Studio - NYC. QUOTE: ( f rom the Quietus about the f i rst Obake album) "Yet more proof, i f i t were st i l l needed, that heavy metal cont inues to throw up a sizeable chunk of the most forward looking music being re leased at the present moment. " The Quietus FOR INFORMATION : [email protected]

ARTIST : WADADA LEO SMITH, JAMIE SAFT, JOE MORRIS, BALAZS PANDI T ITLE : RED HILL FORMATS : CD / DOUBLE LP (2 X 180GMS) CAT NO: : RNR044 (CD) / RNR044LP (LP) BARCODES : 5060197760557 (CD) / 5060197760564 (LP)

RELEASE DATES : SEPTEMBER 23 (CD) / SEPTEMBER 23 (LP)

MUSICIANS: WADADA LEO SMITH : TRUMPET JAMIE SAFT : PIANO, FENDER RHODES JOE MORRIS : UPRIGHT BASS BALAZS PANDI : DRUMS FOR FANS OF: WADADA LEO SMITH, MILES DAVIS, JAMIE SAFT,

JOE MORRIS GENRES: JAZZ, AVANT JAZZ TRACKLIST (CD) : 1. GNEISS 2. JANUS FACE 3. AGPAITIC 4. TRAGIC WISDOM 5. DEBTS OF HONOR 6. ARFVEDSONITE TRACKLIST (LP) : A1. GNEISS B1. JANUS FACE C1. AGPAITIC C2. TRAGIC WISDOM D1. DEBTS OF HONOR D2. ARFVEDSONITE

BLURB: Fueled by the urgent h igh note blasts and expressive muted trumpet work of avant garde icon Wadada Leo Smith and underscored by and uncanny group-think of RareNoise sta lwarts Jamie Saft (Metal l ic Taste of Blood, Slobber Pup, Plymouth, The New Standard) on keyboards, Joe Morr is (P lymouth, Slobber Pup, One) on upr ight bass and Balazs Pandi (Obake, Metal l ic Taste of Blood, Slobber, Pup, One) on drums, Red Hi l l is a k ind of c lar ion cal l for the new avant garde. A dynamic, h ighly intu i t ive offer ing, Red Hi l l is fu l l of tensions and re leases and character ized by dramat ic use of space juxtaposed with turbulent crescendos by the provocat ive col lect ive. That th is music real ly breathes and f lows organic is due in no smal l part to the incredibly sensit ive, remarkably f lex ib le playing of Hungar ian drummer Balazs, who covers a very wide spectrum on th is recording. Pandi ’s sensit ive, h ighly interact ive brushwork and color ist ic cymbals underscore Smith’s lyr ical muted trumpet playing on the sparse opener, “Gneiss.” And yet, when that piece bui lds to a turbulent crescendo near the end, the drummer is r ight there to fuel the frant ic proceedings. With mal lets, Pandi engages in a conversat ional duet with Smith at the outset to “Janus Face,” a piece that evolves from slow, open rubato statements to dense explosions of tumultuous free jazz sparked by Saft ’s Ceci l -esque attack on the piano. Saft switches to Fender Rhodes electr ic piano to atta in another color on “Agpait ic,” a conversat ional romp that features some aggressive bowing on the bass by Morr is. And Pandi suppl ies the rol l ing free pulse beneath Morr is ’ t rance-l ike bass ost inato and Smith’s edgy trumpet excursions on “Tragic Wisdom,” which also has intrepid improvisor Saft p lucking str ings inside his piano.

Si lence is the watchword on “Debts of Honor,” a thoughtfu l improvisat ion which evolves gradual ly over the course of n ine minutes from zen-l ike tranqui l i ty to intense crescendo paced by Pandi ’s re lent less drumming and Saft ’s spiky piano comping and is h ighl ighted by some of Smith’s most powerfu l b lowing of the session. The trumpeter begins the closing number, “Arfvedsonite,” with a high-note blast before Morr is enters with some insistent arco work to create an edgy texture. Pandi ’s ro l l ing pulse with mal lets and Morr is ’ resounding bass tones quickly establ ish a sol id launching pad for Wadada’s stratospher ic improvisat ions on trumpet, br inging th is spel l-binding col lect ion to a ferocious conclusion. FOR INFORMATION : [email protected]

ARTIST : INTERSTATIC T ITLE : ARISE FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR043 (CD) / RNR043LP (LP) BARCODES : 5060197760533 (CD) / 5060197760540 (LP)

RELEASE DATES : AUGUST 12 (CD) / AUGUST 12 (LP)

MUSICIANS: ROY POWELL (HAMMOND ORGAN, KEYS) JACOB YOUNG (GUITARS) JARLE VESPESTAD (DRUMS) FOR FANS OF: JACOB YOUNG, JARLE VESPESTAD, TONY

WILLIAMS LIFETIME, MAHAVISHNU ORCHESTRA GENRES: JAZZ-ROCK TRACKLIST (CD) : 1. DOOZY MUGWUMP BLUES 2. CAERBANNOG 3. ALPHA DOG 4. IWATO 5. FRANK’LL FIX IT 6. IN THE BEGINNING 7. ALEXA 8. WONDERFALL 9. DOOZY (REPRISE) TRACKLIST (LP) : A1. DOOZY MUGWUMP BLUES A2. CAERBANNOG A3. ALPHA DOG A4. IWATO B1. FRANK’LL FIX IT B2. IN THE BEGINNING B3. ALEXA B4. WONDERFALL B5. DOOZY (REPRISE) BLURB:

With each successive out ing -- f i rst 2011’s Anthem fol lowed by their raucous RareNoise Records debut, 2013’s InterStat ic -- the potent Norway-based tr io of expatr iate Br i t organist Roy Powel l , Norwegian guitar ist Jacob Young and Norwegian drummer Jar le Vespestad has upped the ante on intensity and audaciousness whi le arr iv ing at a nexus where rock organical ly meets jazz. Now the powerhouse unit has reached a new level with 2014’s superb Ar ise. Ar ise is an album of many inf luences - i t shi f ts n imbly f rom rock-blues anthems l ike “Doozy Mugwump Blues” and “Alexa” to intr icate numbers l ike “Caerbannog” (named after the cave protected by the k i l ler rabbit in the absurdly comedic 1975 f i lm Monty Python and the Holy Grai l ) to the swinging “Alpha Dog"; Powel l ’s “Frank’ l l F ix I t ,” (which you can l isten to on the player on the left ) fu l l of chal lenging stop-t ime phrases, is dedicated to one of h is major inf luences, Frank Zappa, whi le the dynamic “Wonderfa l l ” carr ies the inf luence of the pioneer ing fusion band Li fet ime featur ing UK guitar hero John McLaughl in and Newark, New Jersey-based organist Larry Young. I t is a new step in a natural progression in the language of InterStat ic: with Anthem the band mixed the repertoire of a modern jazz organ tr io with no distorted sounds with some more rock sounds; Then came InterStat ic, which developed some of the ideas and in jected a dose of psychedel ia into the mix; now on Ar ise the gloves are off . REVIEW : MARLBANK.NET (STEPHEN GRAHAM) (****) Turn on Ar ise and you might th ink you’ve arr ived by a complete f luke at some incredible party. There’s no obvious way to blag your way in, but somehow, gestur ing, the gor i l las on the door manage to growl obl ig ingly: walk th is way. Already in mid-stomp on the never knowingly undert i t led ‘Doozy Mugwump Blues’, i t ’s Jacob Young,

unrecognisable from Forever Young, with the Gandalf of prog-jazz organ: the thoroughly thawed Br i t- in-Norway Roy Powel l , carry ing Young and Tord Gustavsen drummer Jar le Vespestad a long on some sort of h ighly contagious wave of euphor ia. Unreconstructed prog for sure, the f i rst s igns just a minute or two in on a magister ia l solo f rom Young as excit ing as the f i rst t ime I remember hear ing Derek Trucks l ive. They’ve had a few records so far ( the tentat ive Anthem three years ago, and last year’s much more considered InterStat ic) and not over ly-embarrassed by their own sense of bravado ( I ’d swear there was a quote from Nino Rota’s main theme from The Godfather a long the way on ‘Caerbannog’), somehow Powel l and Young hur l themselves through tr icky chord changes on ‘Alpha Dog’ Vespestad wriggl ing along behind them l ike a stuntman on a mission. The lonesome organ sett ing Powel l chooses to open ‘ Iwato’ shows yet another s ide to the tr io, and Young responds wel l , sounding so di f ferent on the next t rack, Powel l ’s infect ious homage to Zappa, ‘Frank’ l l F ix I t ’ . I t 's lef t to ‘ In the Beginning’ to br ing everything down from orbit , the most L i fet ime-l ike part of the album along with the penult imate track ‘Wonderfa l l ’ , and th is t r io to an extent cont inues the modern re imagining of L i fet ime begun in more recent years by Jack DeJohnette and John Scof ie ld. A cult band already, InterStat ic just get better and better, Young’s solo on ‘Doozy Mugwump Blues’ worth the pr ice of the album alone. FOR INFORMATION : [email protected]

ARTIST : INDIGO MIST T ITLE : THAT THE DAYS GO BY AND NEVER COME AGAIN FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR042 (CD) / RNR042LP (LP) BARCODES : 5060197760519 (CD) / 5060197760526 (LP)

RELEASE DATES : AUGUST 12 (CD) / AUGUST 12 (LP)

MUSICIANS: CUONG VU (TRUMPET) RICHARD KARPEN (PIANO AND LIVE

ELECTRONICS SOUND DESIGN/COMPUTER PROGRAMMING)

LUKE BERMAN (BASS) TED POOR (DRUMS) FOR FANS OF: CUONG VU, CONTEMPORARY CLASSICAL

MUSIC, DUKE ELLINGTON, BILLY STRAYHORN, CHARLES MINGUS

GENRES: JAZZ, CLASSICAL MUSIC, ELECTRO-ACOUSTIC

MUSIC TRACKLIST (CD) : 1. L’HEURE BLEUE 2. INDIGO MIST 3. A FLOWER IS A LOVESOME THING 4. BILLY 5. DUKE 6. IN A SENTIMENTAL MOOD 7. CHARLES 8. LUSH LIFE 9. THE ELECTRIC MIST 10. MOOD INDIGO TRACKLIST (LP) : A1. L’HEURE BLEUE A2. INDIGO MIST A3. A FLOWER IS A LOVESOME THING A4. BILLY

B1. DUKE B2. IN A SENTIMENTAL MOOD B3. CHARLES B4. LUSH LIFE B5. THE ELECTRIC MIST B6. MOOD INDIGO BLURB: Trumpeter-composer Cuong Vu has establ ished himself as a dist inct ive voice on the new music/ improvis ing scene for h is adventurous work over the past 20 years with the l ikes of guitar ist Bi l l Fr isel l , Pat Metheny and Laur ie Anderson as wel l as his body of works as leader. E lectro-acoust ic composer and pianist Richard Karpen has earned accolades for h is work in the classical f ie ld as wel l as for being a cutt ing edge sonic exper imenter of the highest order. Joined by their faculty col leagues at the Universi ty of Washington, innovat ive bassist Luke Berman and Vu’s longstanding bandmate, drummer Ted Poor, these two kindred spir i ts push the envelope in a myr iad of provocat ive ways on That The Days Go By And Never Come Again , an extended suite that pays tr ibute to the indel ib le composing team of Duke El l ington and Bi l ly Strayhorn in a most uncompromising fashion. The four part ic ipants met at the Univers i ty of Washington, and played together several t imes ( including in l ive performance si tuat ions) before f inal ly devis ing a plan for th is uncompromising electro-acoust ic out ing. As Karpen expla ins, “The piece was developed over many months and the computer technologies, which

are very compl icated from a computer appl icat ion point of v iew, a lso took months of planning and software development at the Center for Digi ta l Arts and Exper imental Media at the Universi ty of Washington. We knew ear ly on, based on Cuong's in i t ia l idea, that we would be basing th is work on the music of El l ington and to some extent a conceptual reference to the music of Char les Mingus. With regard to Mingus, i t 's not any part icular piece of h is but the way in which musical ideas dr i f t in and out of focus, into and out of what you might cal l ‘musical real ism’ and ‘musical surreal ism.’ That's something one hears also in Beethoven and i t 's a way of working with musical t ime and memory that has resonated with me from when I was a very young composer. I would also include great f i lm art ists such as Buñuel and Tarkovsky as cont inual inspirat ions for th is k ind of composit ional approach that dares us to play so provocat ively with the expectat ions of the audience using memory and archetypes as volat i le and evocat ive art ist ic mater ia l . I t has been a complete joy to explore th is r ich terra in col lect ively with Cuong and his bandmates al l of whom are so br i l l iant ly dedicated to their craft as musicians and have the v is ion and art ist ic inst incts to be tru ly adventurous” REVIEW : MARLBANK.NET (STEPHEN GRAHAM) (***1/2) Opening with an epic drum solo from Ted Poor, th is h ighly unusual El l ington/Strayhorn-themed album, featur ing col lect ively wr i t ten mater ia l f rom the quartet of former Pat Metheny Group trumpeter Cuong Vu with pianist Richard Karpen, bassist Luke Bergman, and drummer Poor, featur ing most str ik ingly an achingly lonesome version of ‘ In a Sent imental Mood’ as wel l as ‘Mood Indigo’, ‘A Flower is a Lovesome Thing’, and a part icular ly dystopian ‘Lush Li fe. ’ That the Days… also involves the use of l ive electronics from a quartet of “ l ive iPad performers” and is dressed as a futur ist ic e lectro-acoust ic take on El l ingtonia. An album that certa in ly confounds expectat ions and bathes the classic El l ingtonia mater ia l

in a new l ight, the swir l of sound, with i ts eer ie Laswel l ian sense of mystery, means you’re never quite sure what’s around the corner next. FOR INFORMATION : [email protected]

ARTIST : JAMIE SAFT, STEVE SWALLOW, BOBBY PREVITE T ITLE : THE NEW STANDARD FORMATS : CD / DOUBLE LP (180GMS) CAT NO: : RNR041 (CD) / RNR041LP (LP) BARCODES : 5060197760496 (CD) / 5060197760502 (LP)

RELEASE DATES : 19 MAY 2014 (CD) / 19 MAY 2014 (LP)

MUSICIANS: JAMIE SAFT (PIANO, ORGANS) STEVE SWALLOW (EL. BASS) BOBBY PREVITE (DRUMS) FOR FANS OF: JAMIE SAFT, STEVE SWALLOW, 60’s JAZZ TRIO,

SOUL GENRES: JAZZ TRACKLIST (CD) : 1. CLARISSA 2. MINOR SOUL 3. STEP LIVELY 4. CLEARING 5. TREK 6. THE NEW STANDARD 7. I SEE NO LEADER 8. BLUE SHUFFLE 9. ALL THINGS TO ALL PEOPLE 10. SURRENDER THE CHAISE TRACKLIST (LP) : A1. CLARISSA A2. MINOR SOUL A3. STEP LIVELY B1. CLEARING B2. TREK B3. THE NEW STANDARD C1. I SEE NO LEADER C2. BLUE SHUFFLE D1. ALL THINGS TO ALL PEOPLE D2. SURRENDER THE CHAISE

BLURB: Whi le Jamie Saft has been a s igni f icant presence on previous RareNoise recordings by Slobber Pup, Plymouth and Metal l ic Taste of Blood, the renegade keyboardist and essent ia l Downtown improviser steps into a dramat ical ly di f ferent ro le on The New Standard. A col laborat ive tr io out ing featur ing the dream rhythm tandem of drummer Bobby Previ te and bassist Steve Swal low , both prol i f ic composers and venerable bandleaders in their own r ight, i t showcases Saft a l ternat ing between piano and organ and making thoughtfu l, melodic contr ibut ions throughout. On ten or ig inal t racks, seven of which the keyboardist composed, Saft b lends br i l l iant ly with his esteemed elders on th is remarkable RareNoise re lease which is re leased on CD and Double Vinyl. The album is the result of a magical recording and direct mix ing session in Saft ’s own Potterv i l les Studios, masterfu l ly setup and captured by 5 - T ime Grammy winning engineer Joe Fer la , who is regarded as the fourth member of the band for th is remarkably empathet ic endeavour. Fer la recorded everyth ing analog direct to two-track 1/2" tape through a Neve console. The sonic integr i ty of the session was then real ized with a fu l ly analog v inyl master - the 180-gram dual gatefold v inyl pressing of the album wil l never have seen ANY computer interference . Engineers on the master ing and lacquer cutt ing sessions were Scott Hul l and Alex DeTurk of Mastedisk. Scott compi led the v inyl masters by edit ing the or ig inal master recordings together one side at a t ime. Alex DeTurk cut the v inyl lacquers under Scott 's supervis ion on the v inyl lathe at Masterdisk direct f rom the compi led analog masters. REVIEW : MARLBANK.NET (STEPHEN GRAHAM) “Not to be confused with a seminal 1990s Herbie Hancock record of the same name, erstwhi le John Zorn sideman Jamie Saft, Giuff re veteran and latterday Impossible Gent leman the great Steve

Swal low, and hipster rhythm rainmaker drummer Bobby Previ te, who included Saft in h is Coal i t ion of the Wi l l ing band, f i re up a storm here on an album most ly made up of Saft ’s f ine tunes. The album gets into the zone on ‘Minor Soul ’ af ter a swinging start on ‘Clar issa’, Previ te stroking the band home. Pretty much rhythm sect ion heaven throughout but nothing f lashy Saft thr ives on the beat and plays his socks off , churchy and down home on the band-wri t ten gem ‘Step Lively ’ , the piano exuding a rudimental v ibrat ion, Swal low bumping the band along from the bass drum up. ‘Clear ing’ has some magister ia l organ and a surpr is ing grandeur to i t that takes you back to some beyond-genre organ-avai l ing prog and ’baroque’ rock records made in the 60s even though th is is an out-and-out jazz record of considerable class that u l t imately makes you want to l isten to a lot of Ray Char les records as wel l as of course hi t t ing replay once the 10 tracks are up. Previ te takes a f ine solo at the beginning of ‘Trek’, Swal low knit t ing in, whi le Saft is subt le when he enters. The t i t le t rack has an agenda-sett ing bass guitar melody l ine at the beginning, Saft taking up the momentum with the swinging ‘ I See No Leader’ those four words in the tune t i t le could wel l be the maxim for th is democrat ic a lbum where al l three are as one and egos are checked at the door (at least you feel that as a l istener). The New Standard real ly moves Saft centre stage as a wr i ter as much as an intu i t ive new star of the organ (he’s a lready under the radar on some extraordinary records including Dave Douglas’ Freak In more than a decade ago now). But th is record wi l l do him no end of good in the l imel ight. And i t ’s a joy to hear Previ te on infect ious form, whi le Swal low seems to be enjoying himself on mater ia l that is not meant to be a stretch for h im compared to say the Impossible Gent lemen charts or h is work with Car la Bley. Saft is a lso on the very di f ferent new album PLYMOUTH (also on RareNoiseRecords) which shows his considerable range. SG FOR INFORMATION : [email protected]

ARTIST : PLYMOUTH T ITLE : PLYMOUTH FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR040 (CD) / RNR040LP (LP) BARCODES : 5060197760458 (CD) / 5060197760465 (LP)

RELEASE DATES : 7 APRIL 2014 (CD) / 21 APRIL 2014 (LP)

MUSICIANS: JAMIE SAFT (PIANO, ORGANS) JOE MORRIS (EL. GUITAR) MARY HALVORSON (EL. GUITAR) CHRIS LIGHTCAP (EL. BASS) GERALD CLEAVER (DRUMS) FOR FANS OF: JAMIE SAFT, MARY HALVORSON, JOE MORRIS GENRES: PSYCHEDELIC AVANT-JAZZ TRACKLIST (CD) : 1. MANOMET 2. PLIMOUTH 3. STANDISH TRACKLIST (LP) : A1. PLIMOUTH A2. STANDISH PT.1 B1. STANDISH PT.2 BLURB: Fol lowing on the heels of their successful col laborat ion on 2013‘s Slobber Pup , one of the most intensely throbbing re leases in the RareNoise catalog, keyboardist Jamie Saft and guitar ist Joe Morr is have reunited for another potent and provocat ive offer ing in Plymouth . Join ing them on the three expansive pieces that comprise th is purely improvised set are the indel ib le rhythm tandem of bassist Chr is L ightcap and drummer Gerald Cleaver, who have played together in var ious sett ings ( including Morr is ’ quartet) s ince the late ‘90s, and r is ing star avant garde guitar ist Mary Halvorson (a former student of Morr is ’ ) . Together they create compel l ing stream-of-conscious sonic excursions that range from zen-l ike quietude to hel lacious distort ion- laced fury, as on the 20-minute “Manomet,” the 13-minute t i t le t rack and the 29-minute journey, “Standish.” Nothing is ever predictable or resolves neat ly on th is audacious, wi ld ly

uncompromising out ing. Down Beat writer John Ephland reviewed Plymouth’s U.S. debut on a specia l RareNoise label showcase held at Shapeshif ter lab in Brooklyn on Dec. 13, 2013: “Beginning with a dose of dreamy electr ic piano, Plymouth brought on a storm of f loat ing, shimmering rubato. The playing centered around a gent ly impl ied beat. Halvorson’s guitar work started with deft, unobtrusive s l ide playing, which provided a contrast to Morr is ’ more dedicated single-note l ines. Saft ’s chimey chords directed the music into a loose-l imbed rock cadence, whi le Morr is ’ hard-edged picking served as a drone. Halvorson repl ied with lush chordal phrases, whi le Saft ’s scary-movie organ l ines were a latt ice for what became a two-note jam of squirre l ly l ines, repeated over and over. Saft cont inued with dense th ickets of sound combined with repeated loops and pedal ef fects f rom both guitar ists. By th is point, there was an audible heaving and sighing over a def in i te groove, menacing but a lso somehow innocent. The group improvisat ion could be heard as a col lect ion of voices—five indiv iduals foraging through a forest of sounds.” FOR INFORMATION : [email protected]

ARTIST : FREE NELSON MANDOOMJAZZ T ITLE : THE SHAPE OF DOOMJAZZ TO COME + SAXOPHONE GIGANTICUS (DOUBLE EP) FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR039 (CD) / RNR039LP (LP) BARCODES : 5060197760472 (CD) / 5060197760489 (LP)

RELEASE DATES : 14 FEBRUARY 2014 (CD) / 7 MARCH 2014 (LP)

MUSICIANS: REBECCA SNEDDON (SAX) COLIN STEWART (BASS) PAUL ARCHIBALD (DRUMS) MIXED BY: ERALDO BERNOCCHI FOR FANS OF: SUNN((( (0) ) ) ) , PAINKILLER, KIL IMANJARO

DARKJAZZ ENSEMBLE, MOUNT FUJI DOOMJAZZ CORPORATION

GENRES: DOOM JAZZ TRACKLIST (CD) : 1. WHERE MY SOUL CAN BE FREE 2. INTO THE SKY 3. THE MASQUE OF THE RED DEATH 4. NOBODY FUCKING POSTS TO THE UAE 5. K54 6. SAXOPHONE GIGANTICUS 7. BLACK SABBATH TRACKLIST (LP) : A1. WHERE MY SOUL CAN BE FREE A2. INTO THE SKY A3. THE MASQUE OF THE RED DEATH B1. NOBODY FUCKING POSTS TO THE UAE B2. K54 B3. SAXOPHONE GIGANTICUS B4. BLACK SABBATH

BLURB: With a crunching sound that is as teeth-chatter ingly heavy as metal icons l ike Slayer and Megadeth or ferocious gr indcore groups l ike Napalm Death and Brutal Truth, yet is imbued with the freedom pr inciple of such avant garde jazz icons as saxophonists Marshal l A l len, Albert Ayler and Peter Brotzman, the formidable instrumental power tr io f rom Scot land known as Free Nelson Mandoom Jazz debuts on the London-based RareNoise label with a provocat ive double EP that wi l l confound jazz cr i t ics as i t chal lenges the thrashmetal-gr indcore community. Joint ly named for the late South Afr ican freedom f ighter Nelson Mandela and the genre of fuzz-bass-inf lected heavy-duty improvisat ion dubbed ‘doomjazz’, th is renegade tr io of bassist Colin Stewart, drummer Paul Archibald and al to saxophonist Rebecca Sneddon ratt les the very grey matter of your brain on their imposing Shape of Doomjazz to Come/Saxophone Giganticus. FOR INFORMATION : [email protected]

ARTIST : CHAT NOIR T ITLE : ELEC3CITIES FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR038 (CD) / RNR038LP (LP) BARCODES : 5060197760434 (CD) / 5060197760441 (LP)

RELEASE DATES : 7 APRIL 2014 (CD) / 21 APRIL 2014 (LP)

MUSICIANS: MICHELE CAVALLARI (PIANO, ANALOG SYNTHS) LUCA FOGAGNOLO (BASS, GUITAR, FX) GIULIANO FERRARI (DRUMS, FX) FOR FANS OF: E.S.T. (ESBJORN SVENSSON TRIO), DJ

SHADOW, NITIN SAWHNEY, AIR, 4HERO GENRES: TRIP-HOP/JAZZ TRIO TRACKLIST (CD) : 1. AVANT BUDDHA 2. CHELSEA HIGH LINE 3. NINTH 4. PEARLS 5. RADIO SHOW 6. PEACEFUL 7. OUR HEARTS HAVE BEEN BOMBED 8. ASPEKT TRACKLIST (LP) : A1. AVANT BUDDHA A2. CHELSEA HIGH LINE A3. NINTH A4. PEARLS B1. RADIO SHOW B2. PEACEFUL B3. OUR HEARTS HAVE BEEN BOMBED B4. ASPEKT BLURB: By organical ly blending elements of e lectronica and ambient music with bi ts of chamber music and jazz, the innovat ive tr io of pianist Michele Caval lar i , bassist Luca Fogagnolo and drummer Gui l iano Ferrar i has come up with a whol ly unique sound on Elec3Cit ies that may establ ish a dar ing new direct ion for the piano tr io. This del icate

balance of e lectronic exper imental ism and acoust ic piano jazz has been evolv ing gradual ly f rom the group’s in i t ia l re lease in 2006, Adopt ion , and cont inued on 2007’s Decoupage through 2008’s Dif f icul t to See You and 2011’s accla imed Weather Forecast ing Stone . But the three I ta l ian musicians take i t to a whol ly new level on Elec3Cit ies , their most overt ly exper imental out ing to date and debut for the London-based RareNoise label. Fol lowing in the footsteps of such pioneer ing North European electronic jazz art ists as E.S.T., Ni ls Petter, Molvaer, Eiv ind Aarset, Jan Bang, Er ic Honore, Arve Henr iksen and bands l ike Supersi Ient and Jaga Jazzist, Chat Noir are poised to take their p lace on that new music scene with the re lease of Elec3Cit ies , their most adventurous and potent project to date. FOR INFORMATION : [email protected]

ARTIST : COLIN EDWIN and LORENZO FELICIATI T ITLE : TWINSCAPES FORMATS : CD / SINGLE LP (180GMS) CAT NO: : RNR037 (CD) / RNR037LP (LP) BARCODES : 5060197760410 (CD) / 5060197760427 (LP)

RELEASE DATES : 14 FEBRUARY 2014 (CD) / 7 MARCH 2014 (LP)

MUSICIANS: COLIN EDWIN (BASS, PEDALS, FX) LORENZO FELICIATI (BASS, PEDALS, FX) NILS PETTER MOLVAER (TRUMPET) DAVID JACKSON (SAXOPHONE) ANDI PUPATO (VARIOUS PERCUSSION) ROBERTO GUALDI (DRUMS) MIXED BY: BILL LASWELL FOR FANS OF: KING CRIMSON, PORCUPINE TREE, NIK

BARTSCH’S RONIN, BRIAN ENO, BILL LASWELL GENRES: INSTRUMENTAL PROGRESSIVE JAZZ ROCK TRACKLIST (CD) : 1. SHAKEN 2. ALICE 3. IN DREAMLAND 4. BREATHSKETCH 5. TRANSPARENT 6. i-DEA 7. CONSPIRACY 8. PERFECT TOOL 9. SPARSE 10. YÜGEN 11. SOLOS TRACKLIST (LP) : A1. SHAKEN A2. ALICE A3. TRANSPARENT A4. PERFECT TOOL B1. CONSPIRACY B2. I-DEA B3. SPARSE B4. IN DREAMLAND

BLURB: Two bassists from two di f ferent cont inents - I ta l ian Lorenzo Feliciati of the adventurous jazz-rock band Naked Truth and the intensely searching nu jazz group Berserk! and Austra l ian Colin Edwin of the longstanding prog-rock band Porcupine Tree and the heavy-duty, exper imental Metal l ic Taste of Blood as wel l as Ex-Wise Heads and Burnt Bel ief - come together to make one potent statement on Twinscapes . With specia l guest appearances by accla imed trumpeter Nils Petter Molvaer, saxophonist David Jackson (of Van der Graaf Generator), Swiss percussionist Andi Pupato (of Andreas Vol lenweider and Nik Bartsch’s Ronin ) and drummer Roberto Gualdi (of the I ta l ian prog-rock band PFM ) , th is bass-dominant project, which was mixed by renowned bassist-producer Bill Laswell, t ravels f rom ambient soundscapes to s lamming funk workouts and kinet ic grooves to cinematic-sounding pieces that defy easy categor izat ion. And there are plenty of v i r tuosic f i reworks along the way by al l the pr incipal solo ists on th is outstanding RareNoise re lease. FOR INFORMATION : [email protected]

ARTIST MUMPBEAK (Musicians) ROY POWELL – a l to sax

BILL LASWELL – e lectr ic bass SHANIR EZRA ROSENKRANTZ – e lectr ic bass LORENZO FELICIATI – e lectr ic bass TONY LEVIN – e lectr ic bass PAT MASTELOTTO - drums

T ITLE MUMPBEAK Format: 4 PANEL CD DIGIPACK Label: RARENOISERECORDS

CAT NO: RNR035 File under: PROGRESSIVE ROCK / PROGRESSIVE JAZZ

For Fans of: KING CRIMSON / RUSH / BILL LASWELL / STICKMEN

BARCODE: 5060197760403

ARTWORK: TBC

TRACKLIST: Biscuit Forelock Monocle Nork Oak Chain Piehole

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE): http://snd.sc/1626TV6

PRODUCT SHIPPING STATUS : CD SHIPPING TO YOU FROM October 20th.

VINYL FROM November 7th TARGET RELEASE DATES UK/US/EU: November

15th 2013 PRESS CAMPAIGN: from ear ly October in

UK/US/Germany/ I ta ly BLURB (FOR YOUR QUOTES): Will be updated soon

ARTIST MUMPBEAK (Musicians) ROY POWELL – a l to sax

BILL LASWELL – e lectr ic bass SHANIR EZRA ROSENKRANTZ – e lectr ic bass LORENZO FELICIATI – e lectr ic bass TONY LEVIN – e lectr ic bass PAT MASTELOTTO - drums

T ITLE MUMPBEAK Format: single 180 gms VINYL Label: RARENOISERECORDS

CAT NO: RNR035LP File under: PROGRESSIVE ROCK / PROGRESSIVE JAZZ

For Fans of: KING CRIMSON / RUSH / BILL LASWELL / STICKMEN

BARCODE: 5060197760397

ARTWORK: TBC

TRACKLIST: SIDE A Biscuit Forelock Monocle Nork SIDE B Oak Chain Piehole

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE): http://snd.sc/1626TV6

PRODUCT SHIPPING STATUS : CD SHIPPING TO YOU FROM October 20th. V INYL FROM November 7th TARGET RELEASE DATES UK/US/EU: November

15th 2013 PRESS CAMPAIGN: from ear ly October in

UK/US/Germany/ I ta ly BLURB (FOR YOUR QUOTES): Will be updated soon

ARTIST IVO PERELMAN / JOE MORRIS / BALAZS PANDI (Musicians) IVO PERELMAN – a l to sax

JOE MORRIS – e lectr ic bass BALAZS PANDI – Drums

T ITLE ONE Format: 4-Panel CD Digipack Label: RARENOISERECORDS

CAT NO: RNR034 File under: JAZZ / FREE JAZZ

For Fans of: ALBERT AYLER, JOHN COLTRANE

BARCODE: 5060197760373

ARTWORK:

TRACKLIST: Freedom What Love Can Lead To To Remember What Never Existed

One Universal Truth Stigma

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE): http://snd.sc/1cHD1z1

PRODUCT SHIPPING STATUS : CD SHIPPING TO YOU FROM September 23rd VINYL FROM October 21st (delays are being

exper ienced) TARGET RELEASE DATES UK/US/EU: October 1st PRESS CAMPAIGN: NOW BLURB (FOR YOUR QUOTES): "An Album To Clear Every Conceivable Cobweb Available" – Marlbank "Free jazz don't come any freer than this and still qualify as music."MidWestRecord "Arguably the greatest tenor saxophonist since John Coltrane,Ivo Perelman boldly goes where no tenor sax player has gone before." - Crit icalJazz/Bop-N-Jazz

ARTIST : IVO PERELMAN / JOE MORRIS / BALAZS PANDI T ITLE : ONE FORMATS : CD / SINGLE LP CAT NO: : RNR034 (CD) / RNR034LP (LP) BARCODES : 5060197760373 (CD) / 5060197760380 (LP)

RELEASE DATES : 04 OCTOBER 2013 (CD) / 9th NOVEMBER 2013 (LP)

TRACKLIST (CD) : 1. Freedom 2. What Love Can Lead To 3. To Remember What Never Existed 4. One 5. Universal Truth 6. St igma TRACKLIST (LP) : A1. Freedom A2. What Love Can Lead To A3. To Remember What Never Existed B1. One B2. St igma Opportunity : In Apr i l 2013 the pre-eminent f ree- jazz saxophone player of our t imes, Ivo Perelman, comes down to The Stone, John Zorn's exper imental music club on Manhattan's Lower East Side, to hear the drummer play with Slobber Pup, a thunderously intense band featur ing Morr is on distort ion- laced guitar, Trevor Dunn on electr ic bass and Jamie Saft on keyboards. Motive: After that performance, Ivo Perelman says " I tota l ly enjoyed Balazs' playing, a l though I had to cover my ears at t imes because I wasn't used to hear ing such intense music. And as I watched them I thought that i f we played together i t would sound great with Joe on electr ic bass, just to give i t that punch to match Balazs' intense backbeats." Crime: With no rehearsals, no charts, no sketches or musical road maps whatsoever, one week later the three r isk-taking musicians enter Ivo Perelman's studio and make a joyful noise in dar ing, unadulterated fashion, pul l ing no punches whi le fo l lowing their inst incts f rom start to f in ish. Fueled by the hard and fast beats of Pandi, who also demonstrates his remarkably versat i le

ski l ls and keen l istening inst incts throughout the session, One is a highly interact ive studio encounter that borders on the te lepathic at t imes. And with Perelman's cathart ic, Albert Ayler-inspired tenor sax blowing on top and Morr is ' e lectr ic bass l ines bubbl ing underneath, sparks ensue on th is turbulent project.

"An Album To Clear Every Conceivable Cobweb Avai lable" – Mar lbank

"Free jazz don't come any freer than th is and st i l l qual i fy as

music."MidWestRecord

"Arguably the greatest f ree tenor saxophonist s ince John Coltrane.Cr i t icalJazz/Bop-N-Jazz


ARTIST BRAINKILLER (Musicians) JACOB KOLLER – fender, p iano

BRIAN ALLEN - t rombone HERNAN HECHT – Drums

T ITLE COLOURLESS GREEN SUPERHEROES Format: 4 PANEL CD DIGIPACK Label: RARENOISERECORDS

CAT NO: RNR033 File under: JAZZ / PROG ROCK /

For Fans of: FRANK ZAPPA, COPPE’, ANTHONY BRAXTON, ROSWELL RUDD

BARCODE: 5060197760311

ARTWORK:

TRACKLIST: The Vindicator Returns Scribble Empty Words (featuring Coppe) Top of the World Orange Grey Shades A Piedi Verso il Sole Plates

Noodlin Labratorio Secret Mission Otaku Goes to a Rave Viv To Be Continued

PRIVATE SOUNDCLOUD LINKS (DO NOT SHARE):

FORTHCOMING (WILL BE FORWARDED TO YOU SHORTLY)

PRODUCT SHIPPING STATUS : 1ST WEEK OF JUNE (FROM US TO YOU) TARGET RELEASE DATES UK/US/EU: JUNE 18 or

JUNE 25 PRESS CAMPAIGN: NEXT MONTH ITALY ,

JUNE UK, US BLURB (FOR YOUR QUOTES): “BRAINKILLER have produced a triumphant music that is always bright and refreshingly original” (PROG) “The trio mix a rock attitude with a close-miked intimacy and a jazz sense of freedom. But they also know to get out of a tune quick before it gets nerdy, and they never veer far from that fundamental truth, a damn good tune” (JazzWise) “These seasoned musicians can deliver diversity, from avant-gardism and electronic exploitation to workings that are imaginative and progressive.” (AllAboutJazz)

ARTIST SLOBBER PUP (Musicians) JAMIE SAFT – Organ, keyboards

TREVOR DUNN – Bass JOE MORRIS – Guitars BALAZS PANDI : Drums

T ITLE BLACK ACES Format: DOUBLE VINYL (2X180GMS) GATEFOLD Label: RARENOISERECORDS

CAT NO: RNR032LP File under: BLUES / METAL / MICROTONAL BLUES

For Fans of: LAST EXIT, MAHAVISHNU ORCHESTRA, NAKED CITY, JAMIE SAFT, TOMAHAWK

BARCODE: 5060197760359

ARTWORK:

TRACKLIST: A1. ACCUSER

B1. ACCUSER (REPRISE) B2. BASALT C1. BLACK ACES D1. SUFFRAGE D2. TAINT OF SATAN


LINK 1

PRODUCT SHIPPING STATUS : 2ND / 3 rd WEEK OF

APRIL (FROM US TO YOU) TARGET RELEASE DATES UK/US/EU: JUNE 4TH PRESS CAMPAIGN: STARTED ITALY ,

STARTING APRIL UK, US BLURB (FOR YOUR QUOTES): With an audacious, uncompromising spirit, Slobber Pup wails with impunity on its savagely fierce, purely improvised RareNoise Records debut, Black Aces . An all-star aggregation masterminded by in-demand keyboardist Jamie Saft (New Zion Trio, Bad Brains, Beastie Boys, Metallic Taste of Blood, Merzbow, as well as numerous projects with John Zorn including Electric Masada and The Dreamers), Slobber Pup brings together the disparate talents of electric bassist Trevor Dunn (Mr. Bungle, The Melvins, Fantomas, Tomahawk, and several John Zorn projects including Electric Masada, The Dreamers and Moonchild), guitarist Joe Morr is (a free jazz icon whose discography numbers over 100 albums as a leader/co-leader over the past 30 years) and Hungarian hardcore drummer Balazs Pandi (Obake, Metallic Taste of Blood, Merzbow, Otto Von Shirach, Venetian Snares). UPCOMING LIVE PERFORMANCES : THE STONE NYC – APRIL 16TH 2013 CAFE9, NEWHAVEN, NYC – APRIL 23RD 2013

ARTIST SLOBBER PUP (Musicians) JAMIE SAFT – Organ, keyboards

TREVOR DUNN – Bass JOE MORRIS – Guitars BALAZS PANDI : Drums

T ITLE BLACK ACES Format: 4 PANEL CD DIGIPACK Label: RARENOISERECORDS

CAT NO: RNR032 File under: BLUES / METAL / MICROTONAL BLUES

For Fans of: LAST EXIT, MAHAVISHNU ORCHESTRA, NAKED CITY, JAMIE SAFT, TOMAHAWK

BARCODE: 5060197760298

ARTWORK:

TRACKLIST: 1. ACCUSER

2. BASALT 3. BLACK ACES 4. SUFFRAGE 5. TAINT OF SATAN


LINK 1

PRODUCT SHIPPING STATUS : 2ND / 3 rd WEEK OF

APRIL (FROM US TO YOU) TARGET RELEASE DATES UK/US/EU: JUNE 4TH PRESS CAMPAIGN: STARTED ITALY ,

STARTING APRIL UK, US BLURB (FOR YOUR QUOTES): With an audacious, uncompromising spirit, Slobber Pup wails with impunity on its savagely fierce, purely improvised RareNoise Records debut, Black Aces . An all-star aggregation masterminded by in-demand keyboardist Jamie Saft (New Zion Trio, Bad Brains, Beastie Boys, Metallic Taste of Blood, Merzbow, as well as numerous projects with John Zorn including Electric Masada and The Dreamers), Slobber Pup brings together the disparate talents of electric bassist Trevor Dunn (Mr. Bungle, The Melvins, Fantomas, Tomahawk, and several John Zorn projects including Electric Masada, The Dreamers and Moonchild), guitarist Joe Morr is (a free jazz icon whose discography numbers over 100 albums as a leader/co-leader over the past 30 years) and Hungarian hardcore drummer Balazs Pandi (Obake, Metallic Taste of Blood, Merzbow, Otto Von Shirach, Venetian Snares). UPCOMING LIVE PERFORMANCES : THE STONE NYC – APRIL 16TH 2013 CAFE9, NEWHAVEN, NYC – APRIL 23RD 2013

ARTIST BERSERK! (Musicians) Lorenzo Esposito Fornasar i – voice / e lectronics /

Organ / Guitars Lorenzo Fel ic iat i – E lectr ic Bass/Upr ight Bass WITH Gianluca Petre l la – Trombone Fabr iz io Pugl is i – Piano/Arp Odyssey Jamie Saft – Keyboards Eiv ind Aarset – Guitars Sandro Satta – Al to Sax Cr ist iano Calcagni le – Drums/fx Simone Cavina : Drums Pat Maste lotto : Drums/fx

T ITLE BERSERK! Format: DOUBLE 180GM VINYL GATEFOLD Label: RARENOISERECORDS

CAT NO: RNR031LP File under: JAZZ-ROCK / PSYCHEDELIA / TRIPHOP

For Fans of: THE KILIMANJARO DARKJAZZ ENSEMBLE, PINK FLOYD, MASSIVE ATTACK, AREA, TOM WAITS

BARCODE: 5060197760342

ARTWORK:

TRACKLIST: A1. Macabre Dance

A2. Fetal Claustrophobia B1. Blow B2. Not Dead B3. Clairvoyance C1. First C2. Dream Made Of Wind C3. Nothing To Say D1. Latent Prints D2. Dream Made Of Water


LINK 1

LINK 2

PRODUCT STATUS: LAST WEEK OF

MARCH/FIRST WEEK OF APRIL

TARGET RELEASE DATES UK/US/EU: APRIL 7TH

– AS ANNOUNCED ON RARENOISE SITE BUT STOCK TO BE RECEIVED END OF MARCH SO DELIVERY AS AND WHEN …) , NEWSPAPERS HAVE FIRST/SECOND WEEK APRIL

PRESS CAMPAIGN: JUST STARTED UK,

ITALY, US

BLURB (FOR YOUR QUOTES): The first-ever collaboration between Italian bassist-composer Lorenzo Fel ic iat i and Italian vocalist-multi-instrumentalist-sonic provocateur Lorenzo Esposito Fornasar i (aka LEF) defies easy categorization as it awakens the senses. At times darker than the Grim Reaper and heavier than the soundtrack for the Apocalypse, it can turn on a dime and swing insistently, or wail mournfully, or float mysteriously. Is i t rock? Is i t jazz? Is i t ambient, avant garde, opera or something else? Regardless of tags, the music that Feliciati and Fornasari make together as Berserk! on their self-titled debut stands an imposing manifesto. It is an iron fist upside the head of complacency. With the two Lorenzos at the core of this formidable collective, they brought in such potent and provocative voices as guitarist Eiv ind Aarset, trombonist Gianluca Petrel la, alto saxophonist Sandro Satta, keyboardists Fabr iz io Pugl is i and Jamie Saft, and drummers Crist iano Calcagni le, Pat Mastelotto (Feliciati’s bandmate in Naked Truth) and Simone Cavina to enhance the proceedings.

ARTIST BERSERK! (Musicians) Lorenzo Esposito Fornasar i – voice / e lectronics /

Organ / Guitars Lorenzo Fel ic iat i – E lectr ic Bass/Upr ight Bass WITH Gianluca Petre l la – Trombone Fabr iz io Pugl is i – Piano/Arp Odyssey Jamie Saft – Keyboards Eiv ind Aarset – Guitars Sandro Satta – Al to Sax Cr ist iano Calcagni le – Drums/fx Simone Cavina : Drums Pat Maste lotto : Drums/fx

T ITLE BERSERK! Format: 4 PANEL CD DIGIPACK Label: RARENOISERECORDS

CAT NO: RNR031 File under: JAZZ-ROCK / PSYCHEDELIA / TRIPHOP

For Fans of: THE KILIMANJARO DARKJAZZ ENSEMBLE, PINK FLOYD, MASSIVE ATTACK, AREA, TOM WAITS

BARCODE: 5060197760304

ARTWORK:

TRACKLIST: A1. Macabre Dance

A2. Fetal Claustrophobia B1. Blow B2. Not Dead B3. Clairvoyance C1. First C2. Dream Made Of Wind C3. Nothing To Say D1. Latent Prints D2. Dream Made Of Water


LINK 1

LINK 2

PRODUCT STATUS: LAST WEEK OF

MARCH/FIRST WEEK OF APRIL

TARGET RELEASE DATES UK/US/EU: APRIL 7TH

– AS ANNOUNCED ON RARENOISE SITE BUT STOCK TO BE RECEIVED END OF MARCH SO DELIVERY AS AND WHEN …) , NEWSPAPERS HAVE FIRST/SECOND WEEK APRIL

PRESS CAMPAIGN: JUST STARTED UK,

ITALY, US

BLURB (FOR YOUR QUOTES): The first-ever collaboration between Italian bassist-composer Lorenzo Fel ic iat i and Italian vocalist-multi-instrumentalist-sonic provocateur Lorenzo Esposito Fornasar i (aka LEF) defies easy categorization as it awakens the senses. At times darker than the Grim Reaper and heavier than the soundtrack for the Apocalypse, it can turn on a dime and swing insistently, or wail mournfully, or float mysteriously. Is i t rock? Is i t jazz? Is i t ambient, avant garde, opera or something else? Regardless of tags, the music that Feliciati and Fornasari make together as Berserk! on their self-titled debut stands an imposing manifesto. It is an iron fist upside the head of complacency. With the two Lorenzos at the core of this formidable collective, they brought in such potent and provocative voices as guitarist Eiv ind Aarset, trombonist Gianluca Petrel la, alto saxophonist Sandro Satta, keyboardists Fabr iz io Pugl is i and Jamie Saft, and drummers Crist iano Calcagni le, Pat Mastelotto (Feliciati’s bandmate in Naked Truth) and Simone Cavina to enhance the proceedings.

ARTIST MERZBOW / MATS GUSTAFSSON BALAZS PANDI

T ITLE CUTS Format: DOUBLE 180GM VINYL GATEFOLD Label: RARENOISERECORDS

CAT NO: RNR030LP File under: NOISE / NOISE JAZZ

For Fans of: MERZBOW, NIC ENDO, MATS GUSTAFSSON

BARCODE: 5060197760335

Cover:

TRACKLIST: A1. evil knives. lines.

B1. deep lines. cuts. C1. the fear too. invisible. C2. like me. like you. D1. like razor blades in the dark. NOTE: the capitalization is essential (small) as is the punctuation ( “.” After each sentence

fragment)

PRIVATE SOUNDCLOUD LINK:

https://soundcloud.com/rarenoiserecords/sets/merzbow-pandi-gustafsson-cuts/s-81cQY

PRODUCT STATUS: DELIVERY to YOU:

FEBRUARY 28TH 2013 TARGET RELEASE DATE UK: 7TH FEBRUARY – AS ANNOUNCED ON RARENOISE SITE BUT STOCK TO BE RECEIVED END OF FEBRUARY SO DELIVERY AS AND WHEN …) , NEWSPAPERS HAVE END OF FEBRUARY PRESS CAMPAIGN: STARTED UK, ITALY BLURB (FOR YOUR QUOTES): If jazz, as the eminent critic Whitney Balliet once wrote, is the “sound of surprise,” Cuts, an intensely cathartic, fiercely turbulent collaboration between Japanese noise purveyor Masami Akita (aka Merzbow), Hungarian drummer Balazs Pandi and Swedish saxophonist Mats Gustasfsson, is the “sound of shock and awe.” A sonic assault of epic proportions, it blends the bombast of Merzbow’s grinding white noise barrages with Pandi’s thunderous pulse on the kit and Gustafsson’s ferocious abandon on baritone sax and clarinet mixed with live electronics, bringing to mind a marriage of Lou Reed’s Metal Machine Music and Coltrane’s Interstellar Space, with touches of Sonic Youth’s sonic mayhem thrown in for good measure.

PRESS: 1. MOJO (****) – Andrew Male “A violent squal l l ine between industr ia l distort ion and free jazz,

th is studio debut f rom the Japanese noisemaker Masami Akita,

Hungar ian drummer Balazs Pandi and Swedish saxophonist Mats

Gustafsson is a pounding beast of mult iphonic metal attack. I t

might disgust the pur ists but lovers of extreme euphoric room

rackets should sign up r ight now.”

2.PROG (Sid Smith) “It’s a meeting point where texture and density have primacy, and primal slabs of tone and pulse dominate. Cuts is hair-raising – faint-hearted listeners should stand well back”

ARTIST MERZBOW / MATS GUSTAFSSON BALAZS PANDI

T ITLE CUTS Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR030 File under: NOISE / NOISE JAZZ

For Fans of: MERZBOW, NIC ENDO, MATS GUSTAFSSON

BARCODE: 5060197760281

Cover:

TRACKLIST: 1. evil knives. lines.

2. deep lines. cuts. 3. the fear too. invisible. 4. like razor blades in the dark. 5. like me. like you. NOTE: the capitalization is essential (small) as is the punctuation ( “.” After each sentence

fragment)

PRIVATE SOUNDCLOUD LINK:

https://soundcloud.com/rarenoiserecords/sets/merzbow-pandi-gustafsson-cuts/s-81cQY

PRODUCT STATUS: DELIVERY to YOU:

FEBRUARY 10TH 2013 TARGET RELEASE DATE UK: 7TH FEBRUARY (RARENOISE SITE ANNOUNCED) , NEWSPAPERS HAVE END OF FEBRUARY PRESS CAMPAIGN: STARTED UK, ITALY BLURB (FOR YOUR QUOTES): If jazz, as the eminent critic Whitney Balliet once wrote, is the “sound of surprise,” Cuts, an intensely cathartic, fiercely turbulent collaboration between Japanese noise purveyor Masami Akita (aka Merzbow), Hungarian drummer Balazs Pandi and Swedish saxophonist Mats Gustasfsson, is the “sound of shock and awe.” A sonic assault of epic proportions, it blends the bombast of Merzbow’s grinding white noise barrages with Pandi’s thunderous pulse on the kit and Gustafsson’s ferocious abandon on baritone sax and clarinet mixed with live electronics, bringing to mind a marriage of Lou Reed’s Metal Machine Music and Coltrane’s Interstellar Space, with touches of Sonic Youth’s sonic mayhem thrown in for good measure.

PRESS: 1. MOJO (****) – Andrew Male “A violent squal l l ine between industr ia l distort ion and free jazz,

th is studio debut f rom the Japanese noisemaker Masami Akita,

Hungar ian drummer Balazs Pandi and Swedish saxophonist Mats

Gustafsson is a pounding beast of mult iphonic metal attack. I t

might disgust the pur ists but lovers of extreme euphoric room

rackets should sign up r ight now.”

2.PROG (Sid Smith) “It’s a meeting point where texture and density have primacy, and primal slabs of tone and pulse dominate. Cuts is hair-raising – faint-hearted listeners should stand well back”

ARTIST NAKED TRUTH

Musicians: Graham Haynes – trumpet / cornet Lorenzo Fel ic iat i – electric bass

Roy Powel l – Hammond B3, Fender Rhodes,

Prepared Grand Piano

Pat Mastelotto – Acoustic and electronic drums

and percussion

T ITLE OUROBOROS Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR029 File under: PROGRESSIVE JAZZ / JAZZ-ROCK / COSMIC ROCK /

AMBIENT JAZZ-ROCK

For Fans of: MILES DAVIS (69-75 period) RETURN TO FOREVER JOHN MCLAUGHLIN’S DEVOTION TONY WILLIAMS’ LIFETIME

BARCODE: 5060197760274

Cover:

TRACKLIST: 1. DUST

2. DANCING WITH THE DEMONS OF REALITY 3. GARDEN GHOSTS 4. ORANGE 5. RIGHT OF NIGHTLY PASSAGE 6. YANG MING HAS PASSED 7. IN A DEAD END WITH JOE 8. NEITHER I

PRIVATE SOUNDCLOUD LINK : http://snd.sc/PLVrpN

PRODUCT STATUS: DELIVERY THIRD WEEK OF SEPTEMBER 2012

TARGET RELEASE DATE UK: 2ND/3RD WEEK OF

OCTOBER SEPTEMBER 2012

PRESS CAMPAIGN: STARTS EARLY

OCTOBER 2012 IN UK, USA, ITALY/EU

BLURB (FOR YOU TO QUOTE): Take the formidable, pulsat ing polyrhythms of King Cr imson and St ickmen drummer Pat Mastelotto, add the throbbing fuzz- inf lected l ines of audaciously creat ive electr ic bassist Lorenzo Fel ic iat i and the jazz- informed textures of a wor ld-class Fender Rhodes, Hammond B-3 organ, piano and synthesizer player Roy Powel l , b lend in avant- jazz, post-Mi les cornet ist Graham Haynes and you have the makings of one of the most unique and powerfu l ly provocat ive instrumental groups on the

internat ional scene today. On Ouroboros , i ts second RareNoise re lease, the members of Naked Truth boldly push the envelope wel l beyond where most groups dare to go. As resident keyboardist Roy Powel l puts i t , “Naked Truth is a cross between jazz, prog-rock and ambient music and f i ts in with other RareNoise projects precisely because i t is omni-genre.” NOTES:

1. NAKED TRUTH WILL PLAY US DATES (EAST COAST) IN LATE SEPTEMBER/EARLY OCTOBER.

2. NAKED TRUTH’S OUROBOROS WAS RECORDED IN BILL LASWELL’S STUDIO IN ORANGE, NEW JERSEY

3. NAKED TRUTH’S OUROBOROS WAS MIXED BY BILL LASWELL

4. GRAHAM HAYNES, SON OF LEGEND ROY HAYNES, JOINS NAKED TRUTH (REPLACING CUONG VU, WHO PLAYED ON THE BAND’S PREVIOUS “SHIZARU”(RareNoiseRecords RNR019)

BLURBS/PRESS:

Quotes re lat ing to the previous re lease (SHIZARU): “A very Bi l l Laswel l approach, … a ser ies of grooves, r i f fs and atmospherics constant ly re- layered and re-contextual ised against each other…there are echoes of industr ia l-strength King Crimson with Mastelotto on board, but al l k inds of soundscapes seethe and f i l ter through, most obviously in resonances of In A Si lent Way and Bitches Brew …. dazzles and start les.” (JAZZWISE)

“Sonical ly provocat ive project which pul ls threads from the dense fabr ic of Mi les’ Bitches Brew per iod … everybody solos and nobody solos … a masterstroke” (JOHN NEWEY/JAZZWISE) “Whoever came up with the fan- and ser ious musician-fr iendly melodic l ine(s) strengthening throughout these rocking, haunt ing grooves, is an off h is rocker prophet…” (TheExaminer.com) “Tight knots of punchy arrangements add a smart focus, prevents some obl ique jam-l ike numbers from dr i f t ing off into a woozy al tered states. Cavernous rumbles and diaphanous, misty soundscapes are interrupted by unexpectedly powerful bursts of ascending st ings, often woven with yearning, lyr ical themes.” (Sid Smith, King Crimson biographer, PostCards from the Yel low room). “This album stands a chance of blowing up real ly big in the world of jazzy psychedel ic rock/groove music” (JazzMusicArchives.com) “When I f ind music this engaging, that gets in my face and chal lenges me to try to weed my way through i t , mundane topics l ike genre classi f icat ion get shuff led to the bottom of the stack.” (BirdIsTheWorm.com for Al lAboutJazz.com) “The most contemporary of t rue fusion ensembles I may have ever heard.” (Cr i t icalJazz.com) “Ominous beats prowl the deep l ike sharks, as Powel l 's acoust ic piano gambols over synthesized clouds with twinkl ing runs … from atmospheric, pushed-air sequences to clar ion, unampl i f ied trumpet melodies...Nice Stuff" (Seatt le Times)

ARTIST ANIMATION

Musicians: Bob Belden – sax / flute

Peter Clagett – trumpet/electrified trumpet

Jacob Smith – electric bass

Roberto Verastegui – keyboards

Matt Young – drums

T ITLE TRANSPARENT HEART Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR028 File under: PROGRESSIVE JAZZ / ELECTRIC JAZZ

For Fans of: MILES DAVIS (69-75 period) RETURN TO FOREVER BOB BELDEN

BARCODE: 5060197760267

Cover:

TRACKLIST: 1. TERRA INCOGNITO

2. URBANOIA 3. CRY IN THE WIND 4. TRANSPARENT HEART 5. SEVEN TOWERS 6. PROVOCATISM 7. VANISHMENT 8. OCCUPY!

PRIVATE SOUNDCLOUD LINK: http://snd.sc/LGEiMM

PRODUCT STATUS: DELIVERY

FIRST WEEK OF SEPTEMBER 2012

TARGET RELEASE DATE UK: 25 SEPTEMBER 2012 PRESS CAMPAIGN: STARTS EARLY

SEPTEMER 2012 IN UK, USA, ITALY/EU

BLURB (FOR YOUR QUOTES):

Following on the heels of Animation’s 2010 RareNoiseRecords debut, Asiento, and 2011’s Agemo, saxophonist-composer-bandleader Bob Belden tells his own story on Transparent Heart. With his new Animation lineup consisting of young musicians hired from his alma mater, the University of North Texas (23-year-old keyboardist Roberto Verastegui, 24-year-old bassist Jacob Smith, 29-year-old trumpeter Pete Clagett and 20-year-old drummer Matt Young), Belden unveils a dark narrative as heard through the musical diary he has composed over 29 years of living in Manhattan.

An imposing electronic noir masterwork, Transparent Heart travels from Belden’s initial awestruck impressions of New York City (“Terra Incognito”) to his feelings of foreboding (“Urbanoia”) and hope (“Cry in the Wind”) as a city dweller on Manhattan’s Upper West Side, to the pervasive angst of post-9/11 Manhattan (“Seven Towers,” “Provocatism”). He also addresses the mass exodus of artists from the city (“Vanishment”) and concludes his

musical memoir with the clash of the social classes manifested in the Occupy Wall Street movement (“Occupy!”). Belden has concocted a powerful, provocative suite of music that is charged by the intensely driving, highly intuitive playing of his young energetic Animation band mates.

“This record is not a jazz record, it’s about my life in Manhattan,” says the Grammy® Award-winning composer-arranger-producer. “In essence, the music on Transparent Heart is a reflection of the lingering tension since 9/11. It’s an honest look at Manhattan through music.”

NOTES: 1. ANIMATION WILL PLAY UK DATES (LONDON) IN LATE SEPTEMBER/EARLY OCTOBER. PLAYED VORTEX AND TABERNACLE IN JULY 2012 2. JAZZWISE MAGAZINE WILL RUN EXTENSIVE FEATURE ON BOB BELDEN’S ANIMATION IN AUGUST EDITION 3. THIS IS THE FIRST STUDIO RECORDING BY ANIMATION SINCE GRAMMY NOMINATED “ANIMATION:IMAGINATION” IN 2000 4. BOB BELDEN IS A 4 TIMES GRAMMY AWARD WINNER! FURTHER BLURBS/PRESS: 1. About the live AMBISONIC SURROUND performance BY ANIMATION at the Tabernacle in London (JAZZWISE MAGAZINE) http://jazzwisemagazine.com/video-mainmenu-137/12416-jazz-breaking-news-bob-beldens-animation-dive-into-the-dark-side-of-manhattan- “Saxophonist, composer and producer Bob Belden – who has worked extensively on the Mi les Davis and Blue Note reissues ser ies – landed in London last night for the f i rst of two gigs showcasing tunes from his powerful new album Transparent Heart on Rare Noise Records, debut ing not just new music but a

cutt ing edge surround sound speaker system and eye-popping visuals “Coupled to Ambisonic’s pioneer ing l ive surround sound set up that was manipulated l ive by i ts creator Seraf ino DiRosar io, and with dazzl ing visuals by Brandy Alexander of the bust le and blur of New York ci ty streets, the gig was also a bespoke l istening exper ience. With l isteners increasingly discerning tastes in high qual i ty audio on both vinyl, CD and downloads reaching a new peak, i t was perhaps a taste of th ings to come in the l ive jazz arena as the sound of Belden’s sax, keyboards or spoken word samples were pinged around the eight special ly posit ioned speakers that surrounded the audience. For al l the disturbing, dystopian sounds and messages the immersive audiovisuals only served to heighten the intense feel ings at the heart of Belden’s v is ionary urban jazz aesthet ic.” 2.Journalist’s Stephen Graham Blog about the same event http://marlbank.tumblr.com/post/26484845535/06754 “With projected images that showed solar ised marching bands and almost robot ic ci ty f igures ‘ f r ied’ in the psychedel ic graphic effects, as wel l as Antony Gormley-l ike lonely f igures on high r ise bui ld ings, the performance was also in a way a homage and wake-up cal l to Manhattan, “an is land off the coast of America”, as Belden told the audience.” 3. JAZZWISE REVIEW BY STUART NICHOLSON (AUGUST EDITION OUT IN SEPTEMBER) - 4 STARS

“Bob Belden’s latest album might be considered programmatic or impressionistic, it might be said to employ music concrète techniques, or it might be just plain post-Miles music. Somehow definitions don’t seem to matter. Belden thinks impressionistic is a more accurate summation of the music he presents here: eight tracks that together represent a musical portrait of New York (and Manhattan Island in particular), each one infused with its own improvisational drama. Although his excellent Grammy-winning Black Dahlia (Blue

Note) from 2001 was with a 65-piece orchestra, there are connections to be made here with his writing for quintet that do not strain metaphor. For a start, Belden is a masterful writer of ballad pieces, and the slower tracks here (my review CDR is so hot off the press I don’t have a track listing) seem like a logical continuum of his writing for the earlier album. Certainly, like certain tracks on Black Dahlia, they could equally well function as soundtracks for a film and seem like a contemporary update of his writing for larger ensemble. Equally, just as Black Dahlia seemed an impressionistic portrait of Los Angeles in the 1940s, with its noir-ish writing that seemed of a piece with Jerry Goldsmith’s writing for the Roman Polanski fi lm Chinatown, then Transparent Heart emerges in contemporary continuum with its portrayal of the city that never sleeps, with the faster tracks capturing the Big Apple’s energy and changing moods.” 3. Bert Nogl ik (art ist ic director of the Ber l iner JazzFest) commenting about “Transparent Heart”: “ I t ’s a Masterpiece” 4. Sid Smith (King Crimson biographer) commenting about “Transparent Heart” “ “ I LOVE IT”

ARTIST: MOLE

Musicians: Mark Aanderud – piano Hernan Hecht – drums David Gi lmore – guitar Jorge Lur i Mol ina - Bass

T ITLE WHAT’S THE MEANING? Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR027 File under: MODERN JAZZ QUARTET WITH GUITAR AND PIANO For Fans of: EST, PHRONESIS, AVISHAI COHEN, DAVID GILMORE BOBO STENSON, RAINER BRUENINGHAUS

BARCODE: 5060197760250

Cover:

TRACKLING: 1. PB

2. Stones 3. Trees And The Old New Ones 4 Flour Tortilla Variation 5. What’s The Meaning? 6. Greenland 7. Grass 8 Grubenid

PRODUCT STATUS: DELIVERY FIRST/SECOND WEEK OF APRIL

TARGET RELEASE DATE UK: MID/END OF MAY 2012 PRESS CAMPAIGN: FROM APRIL

ITALY/UK/USA BLURBS/PRESS: What’s The Meaning? Is the first release of the Mexican / Argentinean / American quartet that has been touring Europe and South America extensively over the last two years. Mole picks up the thread left by EST and aspires to join Phronesis in the pantheon of contemporary piano (and in Mole’s case guitar) – driven jazz formations. At the center of Mole are the incredibly swinging, timeless compositions of pianist Mark Aanderud (whose endless list of collaborations includes playing the piano on The Mars Volta’s Opus Octahaedron) driven forward by the relentless jazz, rock and drum’n bass beat of Argentinean master drummer Hernan Hecht (producer of Ely Guerra’s last album “El Hombre Invisible” and drummer on Brainkiller’s RareNoiseRecords’ release “The Infiltration”), duetting here with no-less than Wayne Shorter’s guitarist David Gilmore, whose guitar work has the fluency of mid period Mahavishnu John McLaughlin and Al DiMeola at once and accompanied by the elegant firm hands of Mexican upright bass player Jorge Luri Molina.

Art ist/Project: INTERSTATIC Musicians: Roy Powell – Hammond B3 Jacob Young – Guitar Jarle Vespestad - Drums

T ITLE: INTERSTATIC Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR026 File under: JAZZ-ROCK Organ Trio For Fans of: Mahavishnu Orchestra, John McLaughl in ’s DEVOTION

Larry Young, Jacob Young, Jar le Vespestad, Naked Truth, Supers i lent, John McLaughl in & Car los Santana (Love/Devot ion/Surrender)

BARCODE: 5060197760243

Cover:

TRACKLISTING: 1. Stills

2. First Vision 3. Flatland 1 4. Washed Up 5. Reel Time 6. InterStatic

7. Water Music 8. The Elverum Incident. 9. Americana 10. Flatland 2

PRODUCT STATUS: DELIVERY FIRST/SECOND WEEK OF APRIL


ITALY/UK/USA NOTES: INTERSTATIC WILL

TOUR NORWAY IN MAY 2012; WILL PLAY GENOA JAZZ FESTIVAL JULY 2012

BLURBS/PRESS: InterStatic (as Powell, Young and Vespestad are now known) is the second recorded chapter in their musical history – keeps the musical balance of Anthem, put pushes the musical envelope towards the territory of organ – led psychedelic rock, in the same vein as John McLaughlin’s Devotion, but with a taughter, more defined edge and a Nordic sensibility that comes with the territory (the Norway so prominent in the many ECM recordings of Young and Vespestad). Jazz-Rock Psychedelia for the 21st century. Selected Press Coverage (for their previous release, Anthem) ‘”The overall approach is loose and unfettered (but tempered by a collective focus and control), and the harmonies generally darker and more ambiguous, but if there's a single claim that Anthem lays to waste it's the fallacy that Norwegians can't swing. Vespestad may play more the colorist with Gustavsen, and he may have thundered heavily with Supersilent before leaving the improv collective he helped cofound in 1997, but he swings mightily on Powell's "Elegy," which also features an uncharacteristically

effects-laden Young.” (AllAboutJazz)

ARTIST DAVID (“FUZE”) F IUCZYNSKI

Musicians: David Fiuczynski – fretted and fretless guitars

David DJ Ginyard– fretless bass Evan Marien – fretless bass

Evgeny Lebedev – piano/microtonal keyboards David Radley – violin Takeru Yamazaki – microtonal keyboards

Jovol Bell – drums

Kenwood Dennard – drums Jack DeJohnette – drums

T ITLE David Fiuczynksi ’s PLANET MICROJAM Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR025 File under: JAZZ BLUES GROOVE WITH EASTERN MICROTONAL

HARMONIES

For Fans of: SCREAMING HEADLESS TORSOS KIF EXPRESS FIUCZYNSKI JACK DEJOHNETTE KENWOOD DENNARD MICROTONAL MUSIC OF JULIAN CARRILLO, ALOIS HABA

BARCODE: 5060197760236

Cover:

( IN PROGRESS – not def in i t ive)

TRACKLIST: 1. MICRO EMPEROR (based on a fragment from

Ludwig V. Beethoven’s Fifth Piano Concerto “The Emperor’)

2. MYSTIC MICROJAM 3. MEDITACION (based on a QuarterTone String

Quartet by Julian Carrlllo) 4. SUN SONG (based on Sun Song by Sun Ra) 5. HOROS FUZIVIKOS 6. DRUNKEN LONGING (based on the chinese

traditional songs “Longing for the mortal world” and “The Drunkard”)

7. MADOKA BLUE 8. EN SECRETO (based on QuarterTone String

Quartet by Julian Carrillo) 9. GREEN LAMENT 10. APPREHENSION 11. RAGAKU

PRODUCT STATUS: DELIVERY

FIRST/SECOND WEEK OF APRIL

TARGET RELEASE DATE UK: MID/LATE MAY 2012 PRESS CAMPAIGN: STARTS EARLY MAY

IN ITALY, UK, USA NOTES: PLANET MICROJAM

WILL TOUR EUROPE EARLY MAY + PLAY LIVE GIG AT GENOA JAZZ FESTIVAL 2012 (JULY)

BLURBS/PRESS: 1. About PLANET MICROJAM (from Berklee’s FusionMagazine)

At the crossroads of African American rhythms, microtonal harmonies, and eastern melodic inflections and improv concepts - in other words all the elements that the Greater Boston area has to offer with Berklee as its base – new musical ideas are on the horizon. Drawing on unique elements of western classical microtonality and ethnic folk melodies organized in a jazz/groove context, unheard of harmonies and counterpoint are possible. What sets this microJam apart from other microtonal music is its method of organization. Unlike the microtonal chromaticism of Julian Carrillo, the athematicism of Alois Haba and the post-Scriabin style of Ivan Wyschnagradsky (all venerable microtonal pioneers in western classical music), this MicroJam is not so much MICROtonal as microTONAL. The emphasis is on microtonal harmony that has a jazz-based modal origin. New harmonic colors can be expressed vertically through the stacking of, for example, an Arabic maqam (a type of Arabic mode) into chords based on 3rds or 4ths over a tonal center – in other words, harmony derived from a microtonal chord scale. This is not done in eastern music traditions or modern classical music. Music from the Middle East and Asia rarely has chordal harmony and in the modern western classical tradition, either tonal centers are avoided or harmony is produced from counterpoint. In our ever-shrinking global village could Global MicroJam be a shape of Jamz to come?” Planet MicroJam features several t racks with guests and drum legends Jack DeJohnette and Kenwood Dennard. 2. (Extracts from the AllAboutJazz review of Kif Express – the spiritual predecessor to Planet MicroJam) : “David "Fuze" Fiuczynski continues to obliterate the boundaries of modern-day electric guitar styles, pushing himself further forward into the "world" sounds, techniques, scales, and rhythms that now constitute his calling-card. Funk can be 4/4 or 11/8, tone distortedor bone dry, chords root-fifth crunchers or undeniably undecipherable.” “He can make a fretted guitar sound fretless, but he's also the world's foremost fretlessguitarist, rendering him one of the world's premier slide guitarists— but he plays "slide" with his fingertips. All the notes, even the ones in between the twelve those other guitaristsusually play, are at his disposal.”

“He seamlessly switches to Hendrixian rhythm-guitar psychedelics, another guitaristicsubcategory for which he's a gold-medal contender. Feathering wah-wah into his singlenote lines underscores the similarities between psychedelic and panethnic techniquesbefore he strips his tone dry for a microtonal Asian jaunt over a Celtic drum groove. Before another more "conventional" fretless solo, Fuze offers a one minute clinic in the slip andslide chord voicings between the fretmarks, a further subcategory in which he seems the sole entrant. This tune supports Fuze's theory that the groove can lead the ear throughuncharted micro-topography.” “Fuze has also absorbed the legato linearity of Allan Holdsworth, and when he translates itonto the fretless plank of his doubleneck the results go beyond virtuosic into terrifyinglymind numbing territory. It shows not only that no other guitarist can do all the things he does, it provides glaring,dazzling proof that they're not even attempting.”

ARTIST: METALLIC TASTE OF BLOOD

Musicians: JAMIE SAFT – PIANO/KEYBOARDS ERALDO BERNOCCHI – GUITARS COLIN EDWIN – BASS BALAZS PANDI - DRUMS

T ITLE: METALLIC TASTE OF BLOOD Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR024 File under: METAL, AVANT-JAZZ, PROGRESSIVE ROCK,

INSTRUMENTAL ROCK

For Fans of: JAMIE SAFT PORCUPINE TREE STEVEN WILSON JOHN ZORN’S NAKED CITY ERALDO BERNOCCHI’S OBAKE

BARCODE 5060197760229

Cover:

TRACKLISTING: 1. SECTILE

2 SCHIZOPOLIS 3. GLASS CHEWER 4. BIPOLAR 5. MALADAPTIVE

6. KING COCKROACH 7. CRYSTALS AND WOUNDS 8. FIST FULL OF FLIES 9. TWITCH 10. TRANSVERSE

PRODUCT STATUS: DELIVERY 20-27 MARCH 2012


ITALY/UK/USA BLURBS/PRESS: Metallic Taste Of Blood is an instrumental album brought about by the collective nous of Eraldo Bernocchi (Winter Garden w. Budd and Guthrie, Obake with Pupilllo, Pandi and Fornasari) on guitars, pianist Jamie Saft (of New Zion Trio, Zorn’s electric Masada, Cuong Vu, Marc Ribot and others), bass-player Colin Edwin (of Porcupine Tree and Ex-Wise heads) and Balazs Pandi (of Venetian Snares, Bong Ra, Obake, Merzbow and Otto Von Schirach). Manifestly undefinable, MTOB collects very diverse strands and genres of music (from metal, dub, avant-jazz and progressive rock primarily) and fuses them into instrumental compositions that tightly straddle what on paper are opposites (thus truly representing RareNoiseRecords’ ethos). Loud and gentle, distorted and clean, boiling and cold, sweet and salty, as per its own name. Yet perfect balance is reached, when distorted guitars sound clean and soothing, while cascades of piano notes suddenly morph into threatening shards. An ever surprising recording, laying the foundation to entire new genres.

ARTIST: LORENZO FELICIATI Musicians: Bob Mintzer, Lucrezio De Seta, Roy Powell, Paulo La Rosa,

Aidan Zammit, Pat Mastelotto, Phil Brown, Roberto Gualdi Stefano Bagnoli, Maxx Furian, Cuong Vu, DJ Skizo. Pier Paolo Ferroni, Patrick Djivas, Andrea DiCesare, Daniele Gottardo, Jose Fiorillo, Daniele Pomo, Guido Block

TITLE: FREQUENT FLYER Format: CD digipack (4 panel) Label: RARENOISERECORDS

CAT NO: RNR023 File under: Jazz-Rock/Fusion/Progressive Rock For Fans of: 80’s King Crimson, Jonas Hellborg, Tony Levin, Jaco

Pastorius

BARCODE: 5060197760212

Cover:

TRACKLISTING: 1. The Fastwing Park Rules

2. Groove First 3. 93 4. Riding The Orient Express 5. Footprints 6. Never Forget 7. Gabus And Ganabes 8. Perceptions 9. The White Shadow Story 10. Law And Order 11. Thela Hun Ginjeet

PRODUCT STATUS: READY FOR DELIVERY

(END OF WEEK) TARGET RELEASE DATE UK: 27 MARCH 2012 PRESS CAMPAIGN: ALREADY STARTED

IN ITALY, UK, USA BLURBS/PRESS: Lorenzo Feliciati is rapidly gaining recognition as one of Europe’s most dependably creative bassists. “I find that Feliciati's style on the bass reminds me more of players like Victor Bailey, Percy Jones, Jaco, Gary Willis and perhaps Jeff Berlin,” writes MJ Brady in Proggnosis.com. “Progressive rock, fusion, world fusion are heard on a CD from perhaps Italy's best kept secret on the bass guitar.” A prolific studio musician who’s played on hundreds of pop and rock projects, he’s released a series of stimulating albums featuring his original compositions, such as 2008’s trio session Wasabi (Picanto) with pianist Alessandro Gwis and drummer Emanuele Smimmo and 2010’s Closer (ViaVeneto Jazz) with guest Cuong Vu. He’s probably best known as the leader of Naked Truth. Featuring Vu (recently replaced by Graham Haynes), Roy Powell on piano and Hammond B3 and drummer Pat Mastelotto, the band’s debut album Shizaru (Rarenoise) earned glowing reviews. Rarenoise is slated to release Feliciati’s third CD under his own name, Frequent Flyer, this winter, with an impressive roster of guests, including Vu, Powell, Mastelotto and Bob Mintzer.

Artist/Project: THE MANTRA ABOVE THE SPOTLESS MELT MOON

Musicians: Adriana Salomone – Voice, Guitar, Davide Famularo – Electric

Bass, Keyboards, Maurizio Oliviero – Guitars, Salvio Sibillo – Drums and Percussion

Title: GHOST DANCE

Format: CD digipack (4 Panel) Label: RARENOISERECORDS

Catalogue: RNR022 File under: Rock, Alternative, Progressive Rock For Fans of: Radiohead, Mogwai, Adele, Grace Slick

Barcode: 5 060197 760199 >

Numerical: 5060197760199

Cover:

Tracklisting 1, ATSMM 2. Heads Or Tails 3. Death Baby Chicco 4. The Wolf 5.

Trieste 6. Blue Army 7 Harlequin 8. Constellations 9. Slow Motion 10. Fast Forward 11. Manao Tupapao

Artist/Project: Eraldo Bernocchi, Harold Budd, Robin Guthrie Musicians: Idem Title: WINTER GARDEN Format: CD DIGIPACK (4 panel) Label: RARENOISERECORDS Catalogue: RNR021 File under: Ambient For Fans of: Harold Budd, Robin Guthrie, Brian Eno, David Sylvian

Barcode: Numerical: 5060197760205

Cover:

Tracklisting 1. Don't Go Where I Can't Find You 2. Losing My Breath 3. Winter Garden 4. Entangled 5. Harmony And The Play Of Light 6. Heavy Heart Some More 7. White Ceramic 8. Stay With Me 9. South Of Heaven 10. Dream On

Artist/Project: OBAKE

Musicians: Massimo Pupillo – Bass, Eraldo Bernocchi – Guitars, Lorenzo

Esposito Fornasari – voice, electronics, Balazs Pandi - drums

Title: OBAKE


Catalogue: RNR020 File under: Metal Drone, Progressive Doom, Electronica, Dark Ambient, Math

Rock

For Fans of: Zu, Sunn(((0))), Death Cube K

Barcode: 5 060197 760175

Numerical: 5060197760175

Cover: Tracklisting 1. Human Genome Project 2. Dog Star Ritual 3. The End

Of It All 4. Szechenyi 5. Letters To Ghosts 6. Ponerology 7. The Omega Point 8. Destruction Of The Tower 9. Endocrine Pineal Gland 10. Grandmother Spider

Artist/Project: NAKED TRUTH

Musicians: Cuong Vu – Electrified Trumpet, Lorenzo Feliciati – Electric Bass,

Electric Guitar, Roy Powell – Piano, Fender Rhodes, Pat Mastelotto – Acoustic and Electronic Drums and Percussion

Title: SHIZARU


Catalogue: RNR019 File under: Electric Jazz, Power Ambient, Metal, Progressive Rock For Fans of: Miles Davis, King Crimson, Stickmen, Weather Report

Barcode: 5 060197 760168

Numerical: 5060197760168

Cover: Tracklisting 1. Faster Than An Automatic Door 2. 66 3. Shizaru 4. Ossimoro 5.

Shining Skin Syndrome 6. Touching Corners 7. The Naked 8. Ahkton

ARTIST ANIMATION Musicians: DISC 1 : Bob Belden – Sax, Tim Hagans - trumpet, Scott Kinsey –

keyboards, DJ Logic – turntables, Matt Garrison – bass, Guy Licata – drums

DISC 2: Bill Laswell, DJ Logic, Youth, Gaudi, Fanu, Joe Claussell

TITLE AGEMO Format: DOUBLE CD SOFTPACK (4 panel) Label: RARENOISERECORDS

CAT NO. RNR018 File under: Jazz-drum’n bass, fusion, Miles Davis, Remix, Dub For Fans of: Miles Davis, Animation, Tim Hagans, Tribal Tech, John McLaughlin,

Return To Forever, Weather Report, Drum’n Bass, Gaudi, Bill Laswell, Youth, Fanu Joe Claussell, DJ Logic

BARCODE 5060197760182

Cover:

TRACKLISTING DISC 1 1. Pharaoh’s Dance (3D60 Headphone Mix) 2. Bitches Brew (3D60 Headphone Mix) 3. John McLaughlin (3D60 Headphone Mix) 4. Miles Runs The Voodoo Down (3D60 Headphone Mix) 5. Spanish Key (3D60 Headphone Mix) 6. Sanctuary (3D60 Headphone Mix)

DISC 2 1. Pharaoh's Dance (Bill Laswell Son Of Panthalassa Remix) 2. Bitches Brew Dub (DJ Logic & Grant Phabao Remix) 3. John McLaughlin (Youth Middle Class Riot Remix) 4. Miles Runs The Voodoo Down (Gaudi Remix) 5. Spanish Key (Fanu Lightless Remix) 6. Sanctuary (Joe Claussell Hidden Revealed Version)

PRODUCT STATUS IMMEDIATE DELIVERY TARGET RELEASE DATE RELEASED UK 28 NOV

2011 RELEASED ITALY 28 NOV 2011 RELEASED US MARCH 27TH 2012

PRESS CAMPAIGN: IN ACTION IN ITALY, UK

Artist/Project: ANIMATION Musicians: Bob Belden – Sax, Tim Hagans - trumpet, Scott Kinsey –

keyboards, DJ Logic – turntables, Matt Garrison – bass, Guy Licata – drums

Title: ASIENTO Format: CD+DVD digipack (6 panel) Label: RARENOISERECORDS Catalogue: RNR017 File under: Jazz-drum’n bass, fusion, Miles Davis For Fans of: Miles Davis, Animation, Tim Hagans, Tribal Tech, John McLaughlin,

Return To Forever, Weather Report, Drum’n Bass.


Cover:

Tracklisting 1. Pharaoh’s Dance 2. Bitches Brew 3. John McLaughlin 4. Miles

Runs The Voodoo Down 5. Spanish Key 6. Sanctuary

Artist/Project: OWLS Musicians: Tony Wakeford – Guitars/Voice, Eraldo Bernocchi – guitars,

electronics, Lorenzo Esposito Fornasari – voice, electronics

Title: THE NIGHT STAYS (LP) Format: DOUBLE VINYL Label: RARENOISERECORDS Catalogue: RNR016LP File under: English Neo-folk, industrial electronics, Trip Hop For Fans of: Sol Invictus, Eraldo Bernocchi

Barcode:

5 060197 760151

Numerical: 5060197760151

Cover: Tracklisting A/B SIDES A1. Hide And Seek A2. The Night Stays A3. God Is Right B4.

Come Back B5. Idiot’s Waltz B6. The New Parade C/D SIDES C7. I Am C8. We Took This Land C9. Strange Kind of Beauty

C10. Can You Hear Them D11. Family D12. Lullaby D13. All Gone

Artist/Project: OWLS Musicians: Tony Wakeford – Guitars/Voice, Eraldo Bernocchi – guitars,

electronics, Lorenzo Esposito Fornasari – voice, electronics - Title: THE NIGHT STAYS Format: CD digipack (4 Panel) Label: RARENOISERECORDS Catalogue: RNR016 File under: English Neo-folk, industrial electronics For Fans of: Sol Invictus, Eraldo Bernocchi


Cover: Tracklisting 1. Hide And Seek 2. The Night Stays 3. God Is Right 4. Come

Back 5. Idiot’s Waltz 6. The New Parade 7. I Am 8. We Took This Land 9. Strange Kind of Beauty 10. All Gone

Artist/Project: MARTIN SCHULTE Musicians: Martin Schulte Title: SILENT STARS Format: CD digipack (4 panel) Label: RARENOISERECORDS Catalogue: RNR011 File under: Dub Techno, Minimal Techno For Fans of: Clicks’n’cuts, Chain Reaction, Basic Channel, Moritz Von Oswald,

Mark Ernestus, Monolake


Cover:

Tracklisting 1. 911 2. Galaxy 3. Monday 4. In My Memory 5.Evening 6.The Fog 7. Space 8. Observatory 9. Angels 10. The Butterfly

Artist/Project: BRAINKILLER Musicians: Brian Allen – Trombone, Jacob Koller – electric keyboards, piano,

Hernan Hecht - drums Title: THE INFILTRATION Format: CD digipack (4 panel) Label: RARENOISERECORDS Catalogue: RNR010 File under: Jazz/Free Jazz/Instrumental Progressive Rock/psychedelic rock For Fans of: Miles Davis, Anthony Braxton, Area (Demetrio Stratos), Ornette

Coleman, Ioannis Xenakis


Cover:

Tracklisting 1. U Can’t Stop Z Train 2. Casketch 3. Spider 4. Gilberto’s Fantastic

Safari 5. Ice Fishing 6. Pianer 7. Eepy 8. MsKetch 9. Vindicator 10. Unfiltered 11. Last Mask

Selected Press/Blog Coverage, including live reviews : Pitchfork: "Fearless playing and kinetic energy...concepts like inspiration and creativity bleed through scenes and genres. These guys are for real." Phoenix New Times “Hypnotic landscapes that gallivant through freewheeling jazz, avant-classical and art-rock territories." Pitchfork (2) ”You'd be hard pressed to call it 'jazz' or anything else during a particular moment, but when you step back, dozens of genres become apparent. Allen’s melodies owe as much to Cobain as they do Coltrane (though may have the most spiritual connection to Monk). One of the most impressive things about Koller's tunes is that, despite all manner of diversions and mood changes, the direction never seems to change. And when they're over, I feel like I've just been told a short story.”

Artist/Project: THE MANTRA ABOVE THE SPOTLESS MELT MOON (ATSMM) Musicians: Adriana Salomone – voice&guitar, Davide Famularo – bass&keys,

Maurizio Oliviero – guitar, Salvio Sibillo - drums Title: DEFEATED SONGS Format: CD digipack (4 panel) Label: RARENOISERECORDS Catalogue: RNR008 File under: Indie Rock For Fans of: Radiohead, Beatles, Pink Floyd


Cover:

Tracklisting 1. Golden Mermaids 2. Septembers 3. Mangrove 4. Defeated Song 5.

Blanca 6. Clouds 7. Mare (Not Land) 8. Rooms 9. The Inner Season 10. Lines Of Fire Bless The Mountain

Selected Press/Blog Coverage (Italian and English): Rumore (7/10): “Con Defeated Songs ci troviamo di fronte ad un prezioso manifesto dell’ottimo livello raggiunto dalle produzioni italiane….per abbeverarci definitivamente alle fonti del buon ascolto.”

FuoriDalMucchio (4/5):” Il rischio di sforare nel'epicità incontrollata viene tenuto a bada un po' ovunque, un senso della misura che ci regala, come abbiamo detto, qualche gemma e una qualità media decisamente buona.” RaiMusic:” Rocksound UK ha definito i Mantra “ i cugin i catt iv i degl i XX”. Un complimento impegnativo, ma, viene da dire dopo l'ascolto del loro album, del tutto meritato.” RockSound ( l ive rev iew) (7/10): “There is a lot of potential for this Italian quartet” Classic Rock Prog “By turns dreamy, angelic, plaintive, fragile and unsettling, she [Adriana Salomone] frames their travelogues from post-rock minimalism to Morricone-style surges, with a heartfelt, poetic intensity”.

Artist/Project: PARCHED Musicians: Eraldo Bernocchi – treated guitar, Davide Tiso – treated guitar Title: ARC Format: CD digipack (4 panel) Label: RARENOISERECORDS Catalogue: RNR006 File under: Ambient/Guitar For Fans of: RyCooder, Robert Fripp, Brian Eno


Cover:

Tracklisting: 1. (Mute)Ant-Hill 2. BKK 5.48AM 3. Staring Outside 4. No One In The

Playground 5. A Melting Chair 6. Invisible Wires 7. The Uninvited Guest 8. Naked Warmth 9. Landscapes and Days Eternally Gone

Selected Radio Passages/podcasts: Solenoide.org (LINK) La Planete Bleue (LINK)

http://www.solenopole.org/mirage12.htm

http://www.laplanetebleue.com/details.php?artiste=Parched

Artist/Project: DEATH CUBE K Musicians: Buckethead – guitar, Bill Laswell-bass, DJ Submerged -

electronica Title: TORN FROM BLACK SPACE Format: CD digipack (4 panel) Label: RARENOISERECORDS Catalogue: RNR005 File under: Ambient For Fans of: Buckethead, Sunn O))), Fantomas, Lustmord, Coil


Cover:

Tracklisting: 1. Slow Descent 2. Hollow Ground 3. Watchers 4. Path of the Dead 5. Night Crawler 6. Hidden Chamber

Selected Press Coverage: Kerrang – reviewer: Paul Travers: “It sounds like the soundtrack to an as-yet unwritten David Lynch movie and is definitely one for the 3am slot for those who like to get spooked. Weird music from a weird man.” (rated KKK) RockSound – reviewer Neil Gardner: “Torn From Black Space does a very effective job in dragging the willing listener into the sonic abyss.” (rated 7/10) Classic Rock – reviewer Tommy Udo: “Like Lustmord, Sunn O))) or Coil, this isn’t exactly a collection of relaxing ambient sounds for the chill-out room: it’s like noise heard on the edge of a coma, as you lie there paralysed watching things trailing past in slow motion. This is quite terrifying stuff.”

Selected Radio Passages/podcasts: Solenoide.org (LINK)

http://www.solenopole.org/mission137.htm

Artist/Project: SOMMA (Sacred Order of Music Magic and Art) Musicians: Eraldo Bernocchi – guitar, Bill Laswell – bass, Hamid Drake -

drums, Lorenzo Esposito Fornasari – voice, Raiz – voice, Nils Petter Molvaer – trumpet, 5 tibetan monks – chorals&drones.

Title: 23 WHEELS OF DHARMA Format: CD digipack (6 panel) Label: RARENOISERECORDS Catalogue: RNR004 File under: World Music/East/Dub/Electronica/Jazz For Fans of: Material, Nils Petter Molvaer,


Cover:

Tracklisting 1.Jerusalem 2.To The East 3.Sind 4.Chonyd Bardo 5.Tenzin Travel

6. Sidpa Bardo 7. Bhavacakra 8. Tibetan National Anthem

Artist/Project: METHOD OF DEFIANCE Musicians: Bill Laswell -bass, Bernie Worrell - keys, Toshinori Kondo - trumpet,

Dr Israel – voice&effects console Guy Licata - drums Title: NIHON Format: CD + DVD double digipack (6 panel) Label: RARENOISERECORDS Catalogue: RNR003 File under: Dub/Electronica/Funk/Electric/Free/Jazz/Drum’nBass For Fans of: Bill Laswell, Dub Trio, Miles Davis (Electric Period)


Cover:

Tracklisting: (CD) 1. Woobou/Volunteer Slavery 2. Method Plan One 3. Black

Rain 4. Dark Heat 5. Wootwo/Cosmic Slop 6. Method Exit Dub (DVD) 1. Evening Set in Tokyo 2. Afternoon Set in Tokyo. Selected Blog Coverage: The Quietus (LINK1, LINK2) – “Laswell may have been born in Illinois four decades previously, but the overall effect is at times strangely reminiscent of 1990s Bristol. Channeled through that almighty echo chamber are reverberations of both Massive Attack's co-opting of dub and 70s funk and jazz, and the live drum'n'bass of Reprazent (though in contrast to both those acts, Nihon is a predominantly instrumental affair).” The Buffalo News (LINK): “Fans of Laswell’s Miles Davis pastiche “Panthalassa” will fall quickly for this genre-hopping live recording (and its accompanying DVD). It’s atmospheric, evocative and, when all cylinders fire at once, transcendent music.” (3.5/4 Stars) The Insider (LINK): “The band recently played a triumphant show at the Montreux Jazz Festival in Switzerland, after which Chris Blackwell said simply, "It's Bill Laswell's time", MNN agrees.” TheNational (LINK) : “Laswell is a musician’s musician, combining an unpretentious, can-do attitude with an aptitude for performing and producing good results whether in the field of jazz, improv, dub, drum and bass, punk, electro or hip-hop... Most recently, his explorations have been into low-end provision and the blending of drum and bass, dub and funk as part of the Method of Defiance group who will be playing at Montreux.”

Selected Press Coverage: Echoes (formerly Black Echoes) – reviewer: John Masouri): “...To describe the line-up of Method Of Defiance as intriguing doesn’t even begin to do it justice.....The result is seventies Miles Davis meets Metalheadz – a continuous throbbing groove mixing drum’n bass, funk, dub, reggae and free jazz and that unsurprisingly defies description” (4.5/5 stars)

Selected Radio Passages/podcasts: Solenoide.org (in French) (LINK)

Artist/Project: THE MANTRA ABOVE THE SPOTLESS MELT MOON (ATSMM) Musicians: Adriana Salomone – voice&guitar, Davide Famularo – bass&keys,

Maurizio Oliviero – guitar, Salvio Sibillo - drums Title: ROOMS (EP) Format: CD digipack (4 panel) Label: RARENOISERECORDS Catalogue: RNR002 File under: Indie Rock For Fans of: Radiohead, Beatles, Pink Floyd


Cover:

Tracklisting 1. Helder Pedro Moreira 2. Rooms 3. The Fog 4. A Friend with a

knife

Selected Blog Coverage (currently all in Italian): Ondalternativa (LINK): ““Rooms Ep” propone quattro assaggi di post rock psichedelico d’altri tempi.” (3.5/5 Stars) Rockambula (LINK): “...ritengo i The Mantra ATSMM una notevole scoperta, aspettiamo voraci il loro disco in uscita nei primi mesi del 2010.”(3.5/5 Stars) Lankelot (LINK) : “La capacità di assorbire le più disparate influenze musicali (i già citati Slowdive, Piano Magic e Cat Power, ma anche Tool, Radiohead, Devics e Beth Gibbons) trasformandole a proprio piacimento in qualcosa da rimodellare secondo la propria immagine, dimostra un’intelligenza e un’abilità tecnica che ci sembra possa sorreggere il salto che porterà il passaggio dalla breve durata a quella più impegnativa dell’Lp. Un Lp che, se le premesse sono queste, farà molto parlare di sé, nei mesi che verranno..”

http://www.ondalternativa.it/modules.php?name=Reviews&rop=showcontent&id=3574

http://www.rockambula.com/recensione.php?review_id=735

http://www.lankelot.eu/index.php/2009/10/26/the-mantra-above-the-spotless-melt-moon-rooms-ep/

Artist/Project: MEDITRONICA Musicians: Ashtech – bass&production, Polcari – keys, Eraldo

Bernocchi – guitar, Dub Gabriel – effects, Raiz – voice Title: MEDITRONICA Format: CD digipack (4 panel) Label: RARENOISERECORDS Catalogue: RNR001 File under: Dub/Electronica/World For Fans of: Almamegretta, Massive Attack, Radioaxiom, Ashtech


Cover:

Tracklisting: 1. Mediterranean Electronics .2 Rainbow Rain 3. Dame Paz

4. Azimuth Navigation 5. Andromeda 6. The Third Planet 7. Ki Eshmera Shabbat 8. Byblos From Above 9. Black Haik 10. Mare Nostrum

Selected Blog Coverage: NeonLite (LINK ) “Highly recommended summertime listening is this self titled album by Meditronica. Perfect chilled dub electronica with touches of Mediterranean, Balearic influence”. Ireallylovemusic (LINK ): “big fat, deep ambient electronically enhanced dub soundscapes that rattle and hum in all the right places.... all of which makes Meditronica an absolute joy to have shaking the ireallylovemusic foundations while i get on with day to day life stuff” Trancecritic (LINK):“Meditronica is a safe purchase for dub connoisseurs” NiceUp (LINK) : “Composition throughout Meditronica is smooth, lilting and subtly complex which will make you want to listen to the album again and again. This is testament to the collaborative style of all the artists on this album. Definitely an album you want in your personal music collection.” DreamCreation (LINK) – winter 2008/9 issue

Selected Press Coverage: Echoes (formerly Black Echoes) – reviewer: John Masouri): “Rather than make three-minute songs for the commercial market, Meditronica create nameless, aural environments for the senses, and that are just as capable as igniting the imagination, as well as the waistline.” (4/5 stars)

Selected Radio Passages/podcasts: Pathaan’s Musical Rickshaw on BBC Asian Network – dates: 24May, 21June, 22July 2009 On The Wire on BBC Lancashire – dates: 16th May 2009 Post-Milllenial Sounds on BBC Liverpool – dates: 15h May 2009 Solenoide.org (LINK) La Planete Bleue (LINK)

distributor product sheet

Documents

extreme noise

double cd double lp

power electronics tracklist

cuts of guilt

enigmatic merzbow

tracklist lp

merzbow masami akita

noise power electronics