Tír Na HiFi

Anybody remember this? "Music Is Not Hygiene" on double vinyl by Deasy. I had completely forgotten about him until On Record made his new offering record of the week. "Remember Saturday" by Biggles Flys Again. Then the name Conor Deasy rang a few bells :)

There's a long list of thanks at the bottom of the rear sleeve including a nice one for Julie and Dave @ Road...





Igloo Magazine:

Well, Deasy (a.k.a. Dave Cleary) might come off as a newcomer in the scene of genuine hip-hop/electronic producers, but he’s been at it for quite a while. DJ’ing since ’91 and also running seminal Dublin clubs as Toast, The Good Drum, and Sound Effects. His debut album on Ireland’s The Fear sheds light on this talented producer who delivers a toned down Machine Drum feel next to instrumental electronic abstracts that soothes and slithers from one side of the spectrum to the other. Appearances on Bassbin, Frontend Synthetics, Road Relish, Independent, Psychonavigation and The Fear should give you enough indication to seek out more from this Dublin based musical-meister. On Music is Not Hygiene, Deasy establishes himself with downbeat funk/hip-hop tied to loose lyrical samplings and muddy basslines that flow consistently throughout the 15 cuts on this album.



Tracks like “Turn on the Mike” delivers a sort of Amon Tobin feel with its lazy drum loop and guitar/piano compliments. “The Closing Door,” however, blends delicate ambiences next to subtle snapping beats while “Stutter Hop” is just that: stuttering reversed rhythms crash into a clean clip-clop percussion while soundtrack ambiences veer off in the distance. “The Roads” is more of an upbeat electro driven affair with its syncopated funk and punchy tweaks leaning more towards digital experimentation. “Meteor Hits Landlord” is perhaps the funkiest tune yet, its guitar loop and laid-back drumming has a Prefuse 73 feel steering left of any electrical noodling; perhaps one of the finest instrumental hip-hop tunes we’ve heard this year (next to Deceptikon’s 12″ EP on Merck Records). “The Green” is a sample-infested, bass-infused 1-minute track that straddles the line between abstract electronics and MBM flavored bass + sampling with a high dose of creativity gone haywire.

VOD109 Laughing Hands Tape-Works 1981-82 4Lp/DVD

LAUGHING HANDS / THE INVISIBLE COLLEGE Tapes 81/82 4LP Box

Nights, EE-The Welder's Bible & The Luxury of Horns

Members of Melbourne-based seminal improvising experimental group Laughing Hands and its alter ego Invisible College have been Paul Schütze, Gordon Harvey, Ian Russell and Paul Widdicombe.Their spectrally shaded instrumental post-punk-by-way-of-post-industrial constructs were effectively post rock before the genre existed.

The group continued in several permutations until disbanding in 1982. They have released two vinyl albums on their own Adhesive Label (Ledge (1980) and Dog Photos (1981) plus one cassette which is part of this box EE-The Welder's Bible (1981) as well as two cassettes on the Australian tape-label Rash (Decisions) called Nights (1982) under the pseudonym of Invisible College titled The Luxury of Horns (1981/82), both also part of this box-set.

While the esoteric Eno-by-way-of-Dome post punk instrumental constructs doled out across their two LP's are some of the most mesmerizing examples of this sort, their work on the tape-only releases finds them exploring a decidedly more shrouded, nocturnal and formally abstract dimension of their universe.

The two tapes issued under their heading as well as the material they issued under the pseudonym The Invisible College tease out certain territories only hinted at on the vinyl releases. Nights is comprised of two side-long pieces. Side A's mesmerizing title track is filled with watery glisses, spectral synth shadings, distant metallic clatter and pained wails, while the B-side's Infinite Summer unfurls a protracted stream of stutter pulse across a vast terrain of preternatural and phantasmagoric incident.

The material on EE, divided into subsections titled Vibrate, Scatter, Picture and Splinter spans the gap between Nights atmospheric abstractions and The Invisible College's more forcefully driving and art rock-ish confections, each section highlighting a facet of their cumulative praxis, Vibrate foregrounding the rhythmically forceful dimension of their aesthetic as heard on the Invisible College material, Scatter proposing a more fractured and hermetic attack that carries a whiff of Can's ethnological forgeries, Splinter exploring the more nocturnal and mechanistic side of their nature and Picture setting it's sights on the cosmos with pore-penetrating widescreen tracts of alternately shearing and suspended krautrock-ish acid sound-scaping that is perhaps the epiphanic peak of their whole discography.[colour/]

LH member and electronic producer Paul Schütze has received most of his media attention for the dark ambient/rhythmic/quasi-isolationist music he's authored under his own name for the last 2 1/2 decades:

 

“Listening back over these recordings, teased skillfully from the few remaining cassettes by VOD’s engineers I am forced to wonder whether perhaps, as artists we spend our time re-discovering solutions to the same creative problems over and over. I hear things in these pieces (many of which I had entirely forgotten) that offer solutions to problems I am dealing with in my own works today. Suddenly I realize I knew the answers thirty years ago! I guess if it is true that artists remake the same work over and over then perhaps we are doomed to confront the same creative dilemmas repeatedly having inexplicably mislaid the effective solutions of our own manufacture.”

Paul Schütze, Paris, 2011

Got this in the post this morning. Double vinyl pressing of an ancient 1981 cassette edition....








AMN Reviews: Robert Turman – Flux (Spectrum Spools)

An unearthed treasure, time-capsuled since the summer of 1981, when American multi-instrumentalist and composer Robert Turman took a turn for the subtle. Previously, Turman had been a brother-in-noise with Boyd Rice in NON and other unforgiving industrial acts. “Flux” on the other hand is as unassuming as it gets – self-released as a limited edition cassette, Turman created six long-form minimalist “fluxes” out of kalimba, piano, a drum machine and tape loops. This being 1981, the human touch is also vividly present in the recording, one hand pushing stop and start buttons, the other on the piano. With the current preoccupation in the visual and musical arts with bodies and their interaction with technology, how rare to encounter a thirty-year-old recording that feels so very contemporary, not only in sound but execution.

Each track is substantial but pliable, friable and above all, tactile. You can hear the hands shaping the sound. The opening track – in this version, the six tracks have been shorn of the titles they originally bore – has a woody, African music-box quality. The second trickles fat, round raindrop notes. The third is reminiscent of canned Chinese music meant to evoke an Imperial court scene in some cheap Hollywood flick, and yet proceeds with grace and dignity. As it slowly revolves and its timbre is altered, the air around it grows thicker, dreamier. The last two pieces are piano studies. Lovely as they are, they feel like bonus material to the revelatory near-hour that proceeds them.

Released by Spectrum Spools, the not-quite two-year-old sublabel of Editions Mego, successor to the Mego label that is extending its legacy of creating and curating some of the most significant micromosaics in sound. Robert Turman´s “Flux” is certainly a legacy piece worth praise and preservation. Literally a sound sculptor with his hands-on approach, “Flux” is an important, groundbreaking work. And it´s just so beautiful to listen to.

http://editionsmego.com/release/SP+010

Stephen Fruitman

Precious vinyl...

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cybot wrote:

jadarin wrote:
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