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Most recent set of RareNoiseRecords product sheets

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  • 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 theyve taken things up a notch or two on the Richter scale on their RareNoise Records follow-up recording. With Gustaffsons roaring baritone sax blending with Moores shriekback guitar, Pandis intensely throbbing beats and Merzbows 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. Pandis 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 Hker 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 Ume 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 1990s Goo, 1992s Dirty, 1994s Experimental Jet Set, Trash and No Star and 2004s Sonic Nurse. Since disbanding Sonic Youth in 2011, Moore has recorded solo projects, including 2011s Demolished Thoughts and 2014s 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 Brooklyns 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 ORourke 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 cant really talk about differences. I dont 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. Thats how it always is with Masami. And thats how we approached this new recording in the studio.

    FOR INFORMATION : giacomo@rarenoiserecords.com

  • 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 Safts droning, microtonal organ and Mike Prides thunderous free drumming approach to the kit creates a mind-numbing maelstrom on The Spanish Donkey's RAOUL, the improvising trios 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 players uncanny intuition on their respective instruments. More intensely cathartic, startlingly original and compelling than anything youve ever heard -- imagin