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Edition of 118 copies, only otherwise available from the band or direct from the label. More documentary-style horror, electro-sloth and mutant field recordings from the minimal duo of John Olson and Mike Connelly of Wolf Eyes et al. Long OOP.
Edition of 200 copies, one-sided LP with art by John Olson of Wolf Eyes et al. Mystery collaboration featuring John Olson of Wolf Eyes and Mike Connelly of Hair Police at el. A blast of overtone-thick technicolour noise that sounds like a more malevolent Matthew Bower/Hototogisu-style torrent saturated with slow solar rays and high, almost Whitehouse-style sicktones. A classic, heavy UK Industrial/noise feel to this one that is endlessly satisfying. OOP. Highly recommended.
Amazing Dead Machines LP that topped even the John Wiese collaboration as the most spun DMs plate to date at VT HQ – and that's a lot of playing. The duo of John and Tovah Olson are burning up years here, with a riotous audience that constantly sound like they're gonna descend on the stage like a breaking wave. Lots of saxophone from Olson, with a particularly wired electronics/F/X/reeds section that sounds like a Black Artist Group jam with Cosey Fanni Tutti. Other more claustrophobic movements cross thumping body-in-a-suitcase rhythms with almost Nord levels of atonal fog and some unequivocal punk rock dynamism. Cool sleeve art from Olson too. If you only buy one DMs rec, this is the one for your shelf. "The A-side was recorded at the first No Fun Festival in March 2004 (Brooklyn) and features a little comedy to start with and then things get heavy. The second side is the very first VG Kids/Wolf Den Ypsi Street Level throwdown. The band's set was performed live on a 6-color shirt screen press with a seven speaker set up on the press heads, which when spun slightly made for a dead-universe dying electronic creeping blast sound. NATE brought a fog machine that blasted out the room and into the parking lot of the VG complex. Near the end of the recording you can hear people chuckling over the absurdity of it all." Long OOP, highly recommended.
"Waaaayyyy black in 2002 the Olson-O'Rourke duo jetted over the pond to meet Dylan and Karen in Brighton, hang for big D's birthday, soak in the craggy UK atmosphere. Crazed Dylan held a weird show somewhere in London, at the KFDM's dude club, with strange painted walls and a movable stage. Young traveler Big J's eq blew up right before the gig, so DM had to share one electronic set-up and reeds, etc. Was a truly strange night, some punter kept yelling something at us, you can hear it on the record, but can't tell what he's yellin - but it doesn't sound like a wish of good luck. Milch Grande and Dylan also played and I think that [sic] Goldie jammed as well. Here's the DM set, an odd one for sure. Playable at any speed, color vinyl, edition of 200 with a live photo from the gig." - Tovah Olson. Long OOP.
Collection of kindergarten-primitive basement noise, jarring single-note brut, cut-up walkie-talkie compositions, doofy beats and goof-offs on Euro-Industrial DIY oppression from the late Enema Syringe, formed in 1985 by Kai Parviainen and Mats Lundberg. Somewhere between Pianosaurus, German New Wave doom and early TG with a sound based around toy casio synths, rhythm boxes, vocals, tape deck, drummachine and cheap microphones. All tracks rare and unreleased, fully remastered. Cool artwork by Tyfus, complete with liners/discography by Parviainen. Edition of 400 copies. OOP.
Original copies of the unlikely follow-up to an even less likely debut: In The Sack was Tucker's second privately-pressed release following his legendary Batstew LP, a cracked, obsessional classic that combined Industrial field recordings of car engines with weird Barret/Ayers/Wilson-esque paeans to teenage perversion and hermetic personal tropes. It still stands as one of the greatest outsider/real people American privates. In the wake of Batstew, Tucker's mental health suffered and after a couple of breakdowns he changed his name to T. Storm Hunter and recorded In The Sack in 1982, an apocalyptic / dystopian concept album that centered on the American postal system that sounds something like a cross between a teenage Van Dyke Parks and a slightly less disobedient Half Japanese. The sonics are little more song-based that Batstew but there's still plenty of goofy avant action with found-sound, electronic cut-ups and weird garage-pop miniatures all soaked in that classic hermetic basement vibe that made Batstew such an essential album. Rare and highly recommended!
Ever since we made the original ultra-limited CD-R version of this great duo LP TOTT back in late 2004 its reputation has continued to grow, culminating in this long-awaited official vinyl edition from Eclipse. At this point it stands as one of the most fully-realised recorded documents to come out of the whole free folk/New Weird America scene. Here's what we said at the time: "This one really knocked us out...Valerie and Paul are members of Sunburned Hand Of The Man and regularly host shows at their own space, The Belchertown Carhole. They also play out as two-thirds of The Other Method, who have a bunch of great CD-Rs and a DVD featuring Dredd Foole also available from us. But this is something else entirely, a jaw-droppingly beautiful collection of wire-spun banjo and guitar marches, radiant choral constructions that recall the ineffable electronic depths of Nijiumu, heart-breaking revenant folk-psych and Christoph Heemann-scale Industrial ambience. One of the best long-format releases of this or any other year. Highest recommendation, but you better make it quick." This vinyl edition features full-colour artwork that reproduces the original packaging. Long OOP, highly recommended!
Duo project that teams the open tuned 12-string reveries of Mr James Blackshaw with the lute and electronics of Jozef Van Wissem. A hyper-psychedelic re-think of early music modes that combines slow-moving elegiac melodies with the dance of solitary strings alongside some modern primitive brut. This limited vinyl edition comes in a run of only Edition of 330 copies.
Hand-numbered edition of 300 copies exact replica reissue of one of the signal moments in the Bruce Russell(The Dead C et al)/Alastair Galbraith back catalogue and one of the hands-down greatest NZ free/noise documents of the post-Xpressway age: originally released as a cassette on Russell's private Corpus Hermeticum imprint in 1997, Topology Of A Phantom City sees A Handful Of Dust swollen to full-blown trio format, with Russell on electric guitar, Galbraith on violin and guitar and Peter Stapleton (Pin Group/Dadamah/Eye/Flies Inside The Sun et al) on percussion, synth and shortwave radio. The shortwave gives the music a distant, alien quality and Russell's guitar is particularly insane here, playing epileptic machine gun staccato dirges and sudden dooms of detuned bass violence that serve to locate the music somewhere downwind of Donald Miller, Derek Bailey and Bill Orcutt while sounding quite unlike any of them. Indeed, Topology... is one of the prime arguments for just how specific and radically disconnected the NZ underground's approach to free music was, coming out of garage pop and annexing a no-technique DIY zone of pure electric satori that saw the guitar finally embracing the kinda amplified chaos that rock music had always promised or more properly teased at. Indeed, the kinda heavy metal, non progressive string pile-up that takes place here is nothing short of jaw-dropping, auraless in its unalloyed brutality while somehow generating the kinda group language that makes for true 'mindless' interaction. This is the sound of three hyper-advanced non-technical musicians playing in an omni-directional eruptive style that is more truly 'post-Ascension' than virtually anyone with a reed in their mouth. The Last Year At Marienbad artwork only adds to the feeling of strange, previously uninhabited geometries. Another contender for cassette reissue of the year, simply phenomenal, comes with a download, highest possible recommendation!
Brand new private press LP from the duo of Spencer Clark (Monopoly Child/Skaters/Black Joker et al) and Matt Mondanile (Ducktails et al) with a guest appearance from Mark McGuire (Emeralds): this is a stunning record and a high point in both players' catalogues, approaching the kind of ecstasy sound that would marry the sensual body-gnosis and memory vague stylings of Dan Lopatin's echo jams with the kind of celestial tone-world poetry of the Sun Ra Arkestra at its most plugged in and wiggy. The jams are massively infectious, with Spencer's hallucinatory tropicalia phasing into the kind of motorik highs that would reconcile "I Feel Love" with Faust's "Krautrock" while Mondanile sighs over the top in synthesized vocoder bliss. Indeed, ESN feel like a technicolour riposte to late-period Throbbing Gristle, with a wild DIY/Industrial style morphing into trance inducing tropicalia and boombox rhythms while losing none of their interrogative hands-on appeal. Still, the mood is celebratory and high energy throughout, with irresistible rhythms piloted by aching/lucid keyboard melodies that are as nostalgic for the future as they are for all the past that's yet to come. Indeed, it feels like the triumphal resolution to definitive sides like the Skaters LP on the California box set or like a great yea-saying coda to Ferraro's Marble Surf, a form of ascendant celebratory trance that borrows sci-fi and magickal imagery with a sound that truly travels the spaceways. Plays at 45rpm for maximum body feel. This is the weirdo feel-good record of the year, very highly recommended!
More crude concrete from this reassuringly fucked solo project of Mr David Payne of Offensive Orange/Sick Feedbag et al. Moves from scrunching balloon electrics and scurrying shots of electro-acoustic stun through the kind of kindergarten avant garde glue and tape feel of a classic early Choc Monk side.
Incredible new set of occult/sci-fi/black mirror workings from Spencer Clark aka Monopoly Child Star Searchers/Fourth World Magazine et al: based around the theme of Pinhead In Fantasia, this set power visions metallic angelic life-forms from the future, cenobytes, alien face-huggers, Disney-fied magick and the nightside of Hollywood complete with a full-colour fully illustrated magazine with channelled articles and workings by AR Faust, Spencer Clark and David Keenan. If you have seen any of Spencer's recent live shows you will have experienced how his music has made quantum leaps towards a new form of high gothic/baroque keyboard fantasia and this amazing set expands on those breakthroughs, with a weirdo Angus MacLise electronic/tape music/hand-drums vibe filtered via backwards channelled vocals, Partch-ian sound environs, modern Holy Music-styled minimalism and a revelatory Kraut/2001 vibe. Less 'frenetic' than earlier workings, this represents a slow-dive through accumulated pop culture visions to new oracular zones via wormhole-bisected drone logic, complete with gorgeous sweeps of semi-classical keyboard tone and slow spinning sirens. Something desolately beautiful about this set that makes it stand out from anything Spencer has done before, more fully compositional and thematically linked, positing a dreamworld reconciliation of fourth world melodies, Euro classical darkness, sad cartoon euphorics (one track is titled "Lament Configurations In Walt Disney") and a wiggy/timeless/haunting Sun Ra/Moondog/Popol Vuh feel. Recorded in an open air theatre and in a god metal box simultaneously. Beautifully packaged with a 12" 12 page full colour magazine, a singular release in every way, very highly recommended!
Great new set of haunting acid folk from Kayla Cohen aka Itasca: we were all pretty much blown away by Kayla's early CD-Rs and cassettes that we stocked at VT and this is another mesmerising set of acoustic guitar and vocal reveries cut w/muzzy flute and an atmosphere to compare to Linda Perhacs, early Joni Mitchell/Ladies Of The Canyon or These Trails. Her vocals are fantastic, a moody/high-flying hybrid of Judee Sill and Kendra Smith and her guitar work is just as dazzling, combing the kind of homeblown string work of the early Six Organs recordings with a flowing, arpeggiated, doomy/fated style that is pure Stone Angel w/even a touch of The Doors in its liminal LA wild spaces feel. Totally out of time, devastatingly non-contemporary in its appeal. On Matt Mondanile's private imprint, love this, highly recommended.
Beautiful liminal soundtrack work from the Opalio brothers, originally scored to accompany Roberto Opalio's Alien Blood film that was shown as part of the Sonic Youth: Sensational Fix museum exhibition in an art edition of only 220 copies: a heady, nocturnal trip from MCIAA with distant pin-pricks of light singing beyond the horizon like orchestras of tiny angelic insects. Very minimal weeping single note guitar reveries that come over like an emotionally catatonic Loren Connors give way to choruses of shimmering cymbal work and subtle almost-Nurse With Wound style automating small instrument sci-fi. The piece builds and expands with smaller gestures and F/X modulated percussive tattoos giving it the feel of a Harry Partch or Harry Bertoia sound sculpture, slowly spinning in space, as single notes flicker like lonely satellites and bright constellations pulse in the mouth of soft, droning tunnels of heavenly reverb. One of the most eerily beautiful MCIAA releases in art paper sleeves with paste on art and insert. Comes with a download, recommended.
New art edition of this excellent studio album from the Opalio Brothers w/handmade sleeves, paste-on artwork and coloured vinyl: more acid folk than much of the MCIAA corpus, Fragments... features the Opalios on acoustic and electric guitar, F/X, mini keyboard and wordless vocalisations. The beautiful, delicate arpeggios seem to come out of the whole dosed/Laurel Canyon scene, just endlessly delicate, soft tumbling melodies that dance in melancholy reverie and that have the accumulative effect of pure tone hypnosis, existing almost on the periphery of sound and working best when played at a low, almost subliminal level where it has the power to transform and transport the immediate environment. Hard to describe just how oddly affecting this piece is, just very small, subtle repeat-melodic gestures, almost like a more heavenly, candyfloss Fripp & Eno but it is genuinely beautiful and makes for the sort of music you could live in forever. A major MCIAA one-off, comes with a download, very highly recommended!
Killer set of beatbox damaged No Wave destructo rock and feedback soaked reverie: Ora Iso is the Malaysian-born, recent transplant to New York via Australia, Kathleen Malay alongside Jason Kudo, guitarist with VT faves Modra, working with Lary Seven, a fixture of the NY underground since the 1970s who has worked with Tony Conrad, Jarboe and Foetus. Bathcat marries Malay's haunting vocals with the kinda guitar savagery that would reconcile the jacknife/flamethrower style of Rallizes at their most garage band relentless with the kind of no-technique Hendrix-isms of a Bruce Russell and Michael Morley. Indeed, Ora Iso seem to be channelling a similar kind of devolved electro rock violence as Ut or Jacqui Ham's Dial, combining pugilistic rhythm programs with moments of barbaric string wail and dark vocal hymnals and nursery rhyme melodies, tying up Chrome and Minimal Man while making with the kind of dramatic reverb/fuzz damaged song work that you could almost imagine Meat Whiplash channelling if they had a bit more New York muscle. But it's the guitars and the staggered rhythms that really do it, endless single note shots that peel the patina from the sky and that wrap the songs in complex webs of pure scorch. A massive side from this group, convincingly taking the whole No Wave blueprint somewhere else entirely. Comes with a download. Highly recommended.
Necessary collection of sound works produced by Peter Rehberg aka Pita for Gisele Vienne productions 2004-2008: this one features macabre electronic environments create for the proiductions I Apologise (2004), Une Belle Enfant Blonde (2005) and Jerk (2008) and feature texts by Dennis Cooper. Some of Pita's most surreal and automating soundworks here, running from thunderous proto-Industrial tectonics through still sound pools and pulsing electro-threat. Excellent.
Album of intense electronic spaceways gush from Mr Pete Nolan (GHQ/Magik Markers/Virgin Eye Blood Brothers/Vanishing Voice), one of his wildest/noisiest to date. A massive sleet of shortwave mindbeams and brain-bombing lo-fi threat ala early Throbbing Gristle. Edition of 100, each wrapped in one of a kind art work rendered by Sproston Alexander Abplanalp, age 4.
Edition of 216 copies that restores a previously lost and unreleased private 1981 cassette from Italian avantist and power electronics avatar Maurizio Bianchi. Oirt/Emo-Dne presents sound sketches that would go towards the realisation of his 1983 masterpiece Endometrio. Endometrio was intended as Bianchi's introduction of his 'bionic music' concept and it's still a pretty staggering conceptualisation of noise atomics and one that ranks alongside Takayanagi's Mass Projection and Gradually Projection modes in terms of obsessively regulated electro-formula. Indeed, it's the Gradually Projection style that dominates here, with some of Bianchi's most spectral conceptions combined w/the sound of haunted air filtered through primitive effects and analog tape dirt to create a form of oppressively bleak psychedelia. Already sold out from the label: highly recommended.
First full-length vinyl release from Phil Todd in a dog's age collects a bucket of totally great duo and trio moves (featuring Phil Legard and Mel Delaney) recorded Dec 2005-Mar 2006 that combine totally wiped-out modally-inflected metal with throats full of magnetic tone, light-blurred angel vox and shots of pure white flash for some fully illuminated candyfloss ritual. "Loud Canary Tea" continues the puzzling canary theme that has shown its beak over the past few Todd projects: knowing these bitter Northerners it's probably something to do with how they were all forced down t'mines or summit. Still, now that their existence is no longer primarily subterranean they do making fucking great psych/rock power blues and this is another thrilling instalment. Limited to only 200 copies in stuck-on handmade sleeves. Highly recommended.
"The ongoing study and execution of harsh noise by driven artists constantly reinstates the medium via different techniques, concepts, and different artist amalgamations for a collaborative work. For myself, working with the different 'warbling' and generative moving lines of modular synth from Carlos Giffoni offered me a chance to investigate many different 'spaces' of tone and line manipulation. The examination and crossing of the different LINES slowly become their own parallel entity as the adjoined and wavy synth lines are further dirtied, cut repeatedly, and joined with the knife of 'gated' and cutting HN pedal work. To further manipulate and display the different lines and HN stylizations, Giffoni had the opportunity to heavily edit the textural work of The Rita to exude the constantly moving and jutting sense of Giffoni's own pulsing and driving synth decay via the dirtied analog source material of The Rita. Modular synth and pedal work have been long standing tools in the world of harsh noise, but not often are they crossed over with such investigative and crackling tendencies – a virtual criss-crossing of the different technical lines." - Sam McKinlay/The Rita. Limited to 300 copies.
Multi-region DVD that features a live set from Dave Nuss of The No-Neck Blues Band, Angelblood et al playing wildstyle drums to the point of collapse live in the former Postfuhramt building, Berlin Mitte, encircled by a moving close-up camera. "In Performance 2, Dave Nuss tests his own physical limits, as in his drum solo he consciously passes the point at which the mind controls the body. Trance-like ecstasy is his aim." - DCP.
Debut cassette for this Australian three-guitar garage psych group: East Link feature members of Total Control, UV Race, Repairs, Lakes, Straightjacket Nation, Interzone and Teargas and come over like Lou Reed's Primitives play The Afflicted Man with monolithic repeat-chord riffs and explosions of sudden string wrassling that would marry Link Wray with Brainbombs. The vocals fall just on the right side of self-loathing oik while the band hammer zen-style single chord idiocy from 18 singing strings. Think UK DIY via post-Industrial Velvets with a spike of Oi and press repeat. Hand-numbered edition of 100 copies, recommended.
Long-time coming collaboration between The No-Neck Blues Band and original ethno/jazz Kraut caravan Embryo. Embryo made some great recs in the early 70s, including the super-heavy Bremen 1971 and members of Embryo played alongside Conrad Schnitzler et al at the Zodiak Free Arts Lab and as members of the free-improvising think tank Eruption. Their commitment to guerrilla folk/art actions, their whole get-in-the-van ethos and their multi-disciplinary approach to improvisation makes em ready bed-fellows with NNCK and anyone who has seen that amazing Embryo Eurasian tour documentary will already be fully aware of the parallels. This big band set is heavy on the percussive side, with miniature hand/glock/throat rituals giving way to moments of sublime melodic clarity that have a touch of eastern European klezmer music to em (especially reminiscent of that beautiful Khevrisa set on Folkways) along with a little Marion Brown/Gunter Hampel. Elsewhere there's an almost Sun City Girls level of mutant lip along with touches of contemporary psych units like Dungen although that particularly lop-sided percussive swandive that they invariably tumble into and Michiko's great vocal interjections mean that the whole deal is unmistakably NNCK. NNCK have always done a great job of drawing attention to the crucial breakthrough role played by various non-canonical freaks working well below the radar and this is another swell public service event. And it sounds great. Comes with a booklet with tons of great pics and liners. Highly recommended.
Edition of 400 copies double album from renowned Parisian avantist Ghedalia Tzartes: Check Point Charlie was originally issued on CD by Aaya in 1990 and was the first work specifically conceived by Tazartes to work in the longer form available on CDs. Spread out across two slabs of vinyl it sounds even better. This is a classic in his back catalogue and provides extended examples of alla his fascinations. The hallucinatory tape work and the extended vocal calls come across like the kosmische treatments of Holger Czukay circa "Boat Woman Song". There are some amazing moments of ethno-flux that have all of the third-eye ululating power of Sun City Girls while the cut-up tape work comes over like a rigorous European re-think of the goofball strategies of LAFMS operatives like Smegma. Beautifully presented too.
"San Francisco's most German electronic creeper HANS GRöSEL does it again, after seeing their amazing performance at NO FUN this year I couldn't wait to do a record with these weirdo's! Amazing layered synth madness!! using a mountain of instruments I never heard of, these two long compositions give you the worst melancholic Sunday afternoon feeling, "the party is over", all you're left with is a horrific hangover that will never leave you, thinking of the carnival the night before this is another miserable day indeed, you'll have to wear the hottest costume again, your head is made of wood and nothing makes sense anymore. This is beautiful analog electronic composer/concräte madness with an old piano trumpet sauce, everytime you'll find new sounds!!! Also, be sure to find them live somewhere, the only band that can actually play music while wearing huge wooden houses on their heads. The cover for this record is the second in a series of 5 LPs with 6 panel fold out covers by snotyfus! This one has a huge green wooden house raster on the outside and a full colour village krank on the inside!" - Dennis Tyfus. OOP.
Great collection of archival material from Geerken, Sun Ra activist, Art Ensemble/Takehisa Kosugi/Sunny Murray collaborator et al in an edition of 200 copies: the A side presents some revelatory free improvisations on Sun Ra's Bandura Sun Harp from 1994 , which Sun Ra gave him as security for the money Geerken loaned him to get back to the States. The sound is complex and metallic and Geerken has a variety of approaches, from fast Derek Bailey-style twonks to dizzy singing drones. There's also a multi-tracked piece recorded in Wuppertal in 1995 for eight basses that combine the kinda aggressive string velocities of Iancu Dumitrescu with the sound of The Revolutionary Ensemble. On the flip there's a beautiful series of recordings for flexible roll piano recorded in a cave on the island of Gavdos in Greece in 2007 that have a serene, meditative quality cut with clunky, beautiful Moondog-isms.
Been a long time since we heard from K-Salvatore, an offshoot of The No-Neck Blues Band that features Pat Murano (Decimus/Key Of Shame et al) and Jason Meagher (Coach Fingers/Black Dirt Studios) so this fantastic new studio album, recorded at Black Dirt, is a welcome reminder of their alchemical prowess: released in a run of only 300 copies on Murano's own Kelippah label, Tsar Ova Elk presents a confusing minimalist soundworld that touches on aspects of The New Blockaders and The Godz - lots of creaking, scraping and moaning – while generating a heady keyboard/electronics/wah-wah basement jam vibe that trades Dead C-circa "Driver UFO"-style atmospherics for the kind of lost-in-space feel that would combine the free-floating esoterics of classic Taj Mahal Travellers with what sounds like a Haunted House sound F/X LP. Indeed, if Kosugi and co had been more attuned to the sound of twisted metal and droning electro-chorales and if they were more into jamming in abandoned factories and claustrophobic grain silos than beaches and mountaintops, this might be the kind of rusty free music soundtrack they would've scored for concrete monoliths and poor strong factories. Either way this is exemplary cultic Industrial drone that should appeal to fans of communal Japanese tonefloat (Taj Mahal Travellers/East Bionic Symphonia/Group Ongaku/Marginal Consort) as well as fans of Xpressway, Broken Flag, Ferial Confine et al. Highly recommended!
180 g limited, numbered edition repro of 450 copies with engraved colour artwork of this beautifully baked 1973 side recorded by a bunch of disaffected Vietnam vets. Cool, bluesy Edgar Broughton/Captain Beefheart styled grunt, with some tracks – like the great "Quang Tri City" - featuring nothing but bass drum, vocals, harp and maracas. Other parts of the disc touch on a kind of Buffalo Springfield/Creedence-styled country hump that comes totally soaked in the fine, fine air of the time. Recommended.
Much-anticipated follow-up to the earlier Ytiu LP, once more released on Pat Murano of NNCK/Decimus's private Kelippah imprint, this time in an edition of 500 copies. CINo51 takes up where Ytiu left-off with a triumphal explosion of cymbals that leads into another section of "Daisy Chain For Richard Wright" where the mutant swamp/jazz jam gets into a kind of serpentine groove dominated by a heavy organ sound that could almost be Xhol Caravan dragged through a wormhole w/Terry Riley time-lag treatments before the whole thing starts to move vertically w/aspects of Popol Vuh's Affenstunde giving way to a magisterial organ/percussion piece that comes over like the Hermann Nitsch orchestra plays Arzachel's Garden Of Earthly Delights. The atmosphere is heady and devotional, with a dark, dramatic/gothic aspect that is profoundly effective. This gives way to the stunning second side which starts out with a minimal piece of tonefloat – "Prelude" – that sounds like a zonked out-take from Skip Spence's Oar with the alien percussion sound from the original Sun Sessions recording of "Blue Moon" – style the most lunar of early rock/roll performances – married to wraiths of feedback tones and dark constellations of variously bowed non-identifiable instrumentation building to the amazing "The Danube" a piece of brain-stormingly devolved garage rocker complete with twin fuzz guitar euphorics and that classic Shaggs-meet-Siloah Nuss-style rhythm. No one has done more to join the dots between primitive Americana, outer space improvisation and avant garde art than NNCK and this is a flawlessly executed work that sustains a defiantly arch atmosphere across both sides while nodding like your favourite rock behemoth throughout. Pretty much everything you could want from a NNCK record in here and that final triumphal fuzz blow-out is one of the signature moments of their entire back catalogue. All copies come with individually hand-painted w/iodine sleeves. Highly recommended!
Edition of 300 copies archival release for New York's No-Neck Blues Band: these jams date from the mid-2000s, circa Qvaris, and briefly saw the light via Mutant Sounds. This is a major NNCK discovery, the group has a wide, expansive feel here and the playing is unified and super-directed, starting off with this beautiful almost exotica-styled lament that feels like some of the most nostalgic and melancholy music of longing ever birthed by the mothership. It spins out into something a little more recognisable, with a stunted almost-kraut groove destroyed by wah wah guitar, dunts of Czukay-style bass and the kind of otherworldly electronics of a Catherine Riberio + Alpes. The A side kind of resolves itself into a spectacularly busted take on live Sun Ra circa the early 70s if they all hadda stuck to the keyboards/strange strings angle. On the flip things get even more deranged, with the amphetamine punk feel of a La Dusseldorf giving way to German Oak basement-isms and a final section of weirdo lip work and small percussive levitations. A classic NNCK side, one of their most spectacularly rocking and outside, highly recommended.
Hard to believe that the world has never been graced with a solo album by Hamish Kilgour of New Zealand underground legends The Clean/The Mad Scene before but here it is: All Of It And Nothing is a very intimate, hushed acid-folk masterpiece, almost in the lineage of a Joshua Burkett, with a series of sparse, low-key songs and settings that combine washes of technicolour motorik ala early Clean with the kind of internally implosive gravity of a Skip Spence's Oar. Indeed, there's an uncanny 60s west coast comedown feel, almost as if it's a solo bedroom studio take on The Notorious Byrd Brothers as re-interpreted by a Bob Desper or even a Bill Comeau. Less 'pop' and more dark and delicate than David Kilgour's classic Here Come The Cars, this is one of the most enigmatic and unexpected pitches into the void ever to come out of the Clean mothership. Recommended.
Edition of only 300 copies 'RSD only' LP that pairs a desolately beautiful solo guitar piece from Venusian master Loren Connors with a twin guitar testimonial from Vapour Theories aka Michael and John Gibbons of Bardo Pond: the Connors piece is drawn from a 2011 live show at London's Cafe OTO and its stunning. It starts off in aching single note style, with heart-fluttering vortices of fuzz and heartbreak that touch on aspects of Keiji Haino's early Fushitsusha work before exploding into a mesmeric chord ascension that marries a heady emotional momentum with some radically extended technique, as he attacks the body of the guitar, tearing percussive explosions and heavy textural gravities from six singing strings. Incredible. The Vapour Theories side is the perfect compliment, with both Gibbons wrestling heavy meta forms from twin guitars that sing with e-bow drones and that match Swastika Girls-style otherworldly electricity with the kinda mangled approach to free form of Charalambides circa Joy Shapes. Two sides of inspired electric guitar instrumentals that would reinvent the goddamn form. A beauty; comes with a download code, very highly recommended!
Stunning collection of alla the various key singles from this central New Zealand underground group avant rock/folk/garage group and Xpressway recording artists with connections to seminal outfits like Victor Dimisich Band, Pin Group, Renderers et al: The Terminals featured both Brian Crook and Peter Stapleton and they mainlined classic post-Velvets motorik rock with song styles that drew on aspects of early-Pere Ubu, Syd-era Floyd and Joy Divison, all rendered with that patented basement-on-the-edge-of-the-world feel of alla the best NZ trash. The Terminals gave birth to so many amazing groups in their wake, Flies Inside The Sun, The Renderers, Rain, and they were one of the first garage rock groups to fully internalize free music modes while still working with songs and exploded rock structures. Locating their aesthetic somewhere downwind of the early Pere Ubu/Rocket From The Tombs and Homestead-era Dredd Foole & The Din, this necessary collection tracks the group's evolution across the 1990s and includes mp3 download code. Very highly recommended!
Blazing edition of only 100 copies ultra-crude basement scuzz summit from Nick Mitchell's amazing UK power trio w/silkscreened sleeves: joined by Dylan Hughes on bass and Pascal Nichols (Part Wild Horses Mane On Both Sides) on drums, Mitchell leads the group through the kind of dissolving steel string heavens that would render a Siltbreeze-scale destructo re-think on the kind of primal ecstasies of Sonny Sharrock circa Black Women or even an unholy Groundhogs take on the opening moments of "All Tomorrow's Parties" modelled on Harry Pussy's demolition of Kraftwerk's "Showroom Dummies". Two sidelong tracks – "I've Got The Control Room At The Teatro Della Pergola" and "I've Got The Father Of The Modern Synthesizer" – both recorded direct to Mitchell's phone (!) make it sound like they have the father of the modern synthesizer kidnapped and secreted in a windowless room while they set out to single-handedly destroy the concept of the non-guitar-based future of rock and roll. Some great smears of wah wah here and Mitchell's tone has an even bluesier feel – even a touch of country honk - thanks to the no-count fidelity, at points spilling over into the drooling sheets of sound feel of a John Coltrane>John McLaughlin while Nichols gains a little of Denis Charles's loose, pugilistic style. Hughes derails and redirects the music at will with sudden bass nudges and key changes that reflect on Motorhead as much as Fushitsusha, which almost makes this the insane Motorhead/Peter Brotzmann free music face-off that Bill Laswell attempted but failed to orchestrate back in the day. No one is doing more for the future of the guitar as sonic reducer in the UK than Nick Mitchell and this is another thrilling finger in the eye to tabletop 'performance'. Make your move – very highly recommended!
Limited live LP from UK avant guitarist Jon Collin in an edition of only 250 copies on 140g vinyl: recorded live in Albany, NY, on tour with Yek Koo, Chalaque and Zaimph: Collin somehow welds the tactile aspect of Derek Bailey's approach circa Aida with a form of Northern Blues that weirdly connects to North Japanese traditions, with an almost shamisen-style feel married to the kinda hovering string vortices more commonly associated with Tom Carter's work in Charalambides. There are a few nods to Fahey too, especially the kind of melancholy dissonance of Days Have Gone By, but overall this is a pretty singular solo guitar record with an uncommon emotional intensity.
Incredible collection of lo-fi home recordings cut in Dunedin in 1988 from Robert Scott of The Bats/Clean et al: 1988 was the year of The Bats' The Law Of All Things and these recordings just slightly predate the first Clean LP, Vehicle. The Professor and the Team compiles a buncha zoned dreampop bled straight to tape w/classic proto-Xpressway fidelity, running the gamut of classic acoustic basement folk through brokedown motorik psych and heartbreaking edge-of-the-world DIY euphoria. Necessary, obviously!
Massive vinyl unearthing of what was originally released as a limited CD-R in a promo-only run of 100 copies: recorded live at Bernie's on the same bill as Bassholes and Strapping Fieldhands this devastating live set presents the Photograph Burns-era line-up of V-3 in totally scorching form. The music of Jim Shepard (Vertical Slit/V-3 et al) exists in a kind of timeless/non-historically specific zone and you could almost juggle the release dates of alla his back catalogue around and it would still make perfect sense. Inspired by UK prog like King Crimson, Van Der Graaf Generator and Be Bop Deluxe as well as avant garde composition, the whole Velvets/Reed/Cale/Bowie/Rundgren cabal, free jazz etc, Shepard visioned a form of experimental rock that remained radically individual while anticipating developments in the form that weren't even thought of by most underground players until well into the 1990s. He was a central player in the whole Columbus Ohio Mike Rep/Tommy Jay/Ron House/Nudge Squidfish scene yet there was always something friendless and lonely and combative about his musical persona. Live At Bernie's presents a live-in-a-basement rip through some of his best material, with his vocals pushed well up front. We get scabrous versions of tracks like "Your Uncle", "Son Of Sam", "Harry", "Queen Of The Underground" et al that go as deep into the nocturnal American nightmare zone as anything by Simple Saucer, Chrome and White Light/White Heat era Velvet Underground. The fidelity is superb, actually higher than a buncha his 'official' albums while packing enough amplifier damage and lo-grade scuzz to take you directly *there*. Shepard remains a shining star in the VT universe, one of the most important and uncompromising voices to come out of the American underground, and this is as fine an epitaph for him as any, classic pre/post-Siltbreeze destructo rock mainlined straight from the source. Paste-on sleeves w/scrawled individually unique art. Love this era, love these songs. Don't sleep! Highly recommended.
Edition of 100 copies 2009 cassette from Aran Ruth: another beautiful set of home-conjured lo-fi acid folk majesty and occult acoustic drone time. Hand-drawn/hand-lettered sleeves.
Massive, unlikely reissue in an edition of only 100 copies of Arthur Russell's first release from 1983: with originals going for well into the 100s, this is a necessary edition of one of Russell's most enigmatically beautiful works. Julius Eastman conducts "an almost medievally pure music in which tone combinations of two or three notes tuned to modal/raga scales are played by various instrumental groups". The feel is elegiac, minimal, spectacularly moving, with aspects of Louis Moholo's big band works married to triumphal arcs of precise, single note horn phrases, coming over like the church of the holy spirit plays fanfares for the end of time, moving from clusters of glorious dissonance to pure angel song. Uniquely affecting, a major set of 20th century minimalist genius, but will not be around for long. So make your move. Hands-down one of the cassette issues of the year and another monster uncovering via Sanity Muffin. Very highly recommended!
Hand-numbered edition of only 50 copies split cassette: all female flip, with weirdo sound art/frail pop instants from Paul and prepared turntables, loops and junk hypnosis from Kryssi Battalene.
"BLACK TO ATTACK!!! Old solo reed project now a fleshed out band with Thrasher Slowson and Sara O'keffe from ARA (whose LP on WHAT THE?? is a stone ruler of sweetnezz) on tenor and alto saxes, bass and regular clarinets and mangled electronics. Debut platter after a handful of gigs in the Natti, Lexington and No Fun 08. Drifting and subterranean noisez that attach on your brain and plant seeds of slow motion anti-body lurking sound creatures inside the shadowz of your skull. Warning: Cemented Freeze Zone. #'erd Edition of 100, paste on sleeves of inzane art." – John Olson.
Hand-numbered edition of 647 copies, with three tracks of extended psychedelic narcosis that drool all over speaker stacks and endlessly accruing fuzz satori.
Ever since his early privately-pressed sides took the 60s new thing out into newly electrified realms, multi-instrumentalist Joe McPhee has been one of the most rigorous thinkers to work through the implications of total musical freedom. McPhee's solo sides were always where he flew closest to the sun and Everything Happens For A Reason is the latest instalment in a series that includes stellar unaccompanied sides like 1977's Tenor and 1996's As Serious As Your Life. Everything For A Reason was recorded live on November 7th, 2003 in Wels, Austria, during the Mats Gustafsson-curated Festival Music Unlimited with McPhee moving between pocket trumpet, soprano and alto saxophone. Here, his vocabulary runs from semi-audible tones and little warps of brass through languid bouts of free association and moments of lung-glowing power. The opening "Mythos" is dedicated to trumpeter Bill Dixon and it maps the contours of his musical personality with the kind of wild tonal curveballs that imply the presence of so much phantom architecture. Everything For A Reason also features a beautiful re-think of Duke Ellington's "Come Sunday", as well as tracks dedicated to Steve Lacy, Sidney Bechet, Joe Giardullo, Raymond Boni, Daunik Lazro and McPhee's father. If the last few solo Peter Brötzmann sides planted seeds deep in your heart, chances are that you'll find plenty to connect with here. Comes on beautiful heavy duty vinyl with a printed art-paper sleeve and notes from McPhee himself. Limited hand-numbered edition of only 482 copies. Highly recommended.
One-sided art edition LP in a run of 99 copies, because of the handmade nature the corners are slightly dented. This one presents a bunch of disparate – and often barely recognisable - approaches to the work of Duke Ellington by powerhouse saxophonist Mats Gustafsson that range from soft, melodic re-thinks that squeeze spectral nuance from elastic melodic fragments through overloaded electronic assaults, the sound of syncopated valves and all-our grunt/thunder aggression. Gustafsson plays tenor sax and live electronics.
My Cat Is An Alien album that rolls back the usual primitive sci-fi glitz in favour of a more earthy, hand woven style with both brothers on acoustic guitar and Roberto doubling on vocals and cymbal. Also includes a solo Roberto track. The use of pregnant space and the way that they balance full-articulated single notes with a melt of muzzy tones sounds a little like Tetuzi Akyiama's more liminal form but the addition of a metronomic pulse gives it a nice Reichian repeato dynamic. And this time we ain't taking orgones. Hand-numbered edition of 150 copies in individually painted wraparound card sleeves.
This beautifully packaged double disk set
Roberto's electric 'astral' guitar playing is particularly impressive over the two CDs. He conjures similar stuck/liquid string contortions as Keiji Haino (circa Affection) while Maurizio ploughs through the meteor shower with club footed drum pan-ic. Ambiguous whooshes and wails hover over ever-dissolving tones, summoned from circuit-bent kids toys and the innards of discarded electronic gadgetry to invoke the cold chaos of space. With "no over dubs and no out takes", this feels like the most sonically affecting MCIAA set to date. Includes hand painted sleeves by Roberto, limited to only 120 copies. Recommended. – Alex.
Another major coup from Sanity Muffin, with an edition of 100 copies reissue of this amazing San Francisco weirdo synth private from 1982: a major rarity, the genesis of Trans Millenia Consort is just as off the map. Strom was suffering from obesity and the on-set of blindness and decided to try to work through her experience using meditative modular synth stylings and electronic treatments. The results are amazing, combining a raw, cracked, vulnerable real people vibe with water sounds, distant eerie keyboards that could almost be a haunted Monopoly Child and that classic Corwood-jams-Zeit appeal of Edmond De Deyster/JD Emmanuel et al. Sad, beautiful, strangely moving, another major excavation by Sanity Muffin, great liners too, very highly recommended!
Beautiful short film by Roberto Opalio that casts a warped eye deep into the void of the sky with the lens occasionally obscured by various out-of-phase techniques. Heavy analogue electronic soundtrack from Roberto too. In individually-decorated art paper sleeves with insert, hand-numbered edition of 100.
Another limited to 400 copies LP on this new US label with connections to the whole Sublime Frequencies/Sun Cit Girls axis. Spider Trio is Wally Shoup's new avant rock/free jazz group, featuring Soup himself on saxophone, Dave Abramson on drums and Jeffery Taylor on guitar. Shoup is on fire-breathing form throughout, scorching the omni-directional time signatures and bursts of single note violence with rasping smears of breath and almost Peter Brotzmann-like furies. There is some good, responsive dynamite throughout but it sounds best when the guitar and drums get down on their hands and knees and just generate this low, vibrating rumble while Shoup nose-dives into them again and again.
Tribute to the late Koji Tano of Japanese noise monsters MSBR: an insane mash-up between John Olson of Wolf Eyes' solo project, MSBR and Japanese psych/power unit Government Alpha. Builds from flashing UFO tones and pyramids of circuit shred to a bucket of flashing reeds and heavy sloth-jams that sound like black nightmare-era Hawkwind running Orange amps via nothing but juiced-up ley-lines and primitive third-eye energy. Wild, heavy, pro-rock lurch immaculately man-handled. Koji RIP. Hand-numbered edition of 200 copies in sprayed/doodled salvaged sleeves with stuck-on B-side art.
Hand-numbered edition of 100 copies set of radical tonal freak from saxophonist Steve Baczkowski: a radical departure for Steve, with a torrential accumulation of fucked turntable tectonics, prepared vinyl, tone arm, bells, implements, flutes, vibratube and that colossal baritone attack. Massive.
Incredible culling of rare Sun Ra material from impossible to find Saturn jams mostly 1960s-1970s in a hand-coloured by Oakland kids edition of only 100 copies: running the classic Ra gamut from solo synth bloop through full-on sci-fi gospel orchestra, beatbox violence, space chants and wiggy full ensemble horn freak outs, this is pretty much the bomb in terms of unheard Sun Ra and pretty much everyone who has heard it has been blown away. All covers are unique and hand-coloured just like the original Saturn sleeves. Cassette release of the year? We have only secured a very limited supply of these amazing cassettes, so please don't be disappointed if you miss out. Strictly one per customer. Highly recommended!
Massive two-header that presents unreleased archival recordings from legendary NZ underground group The Dead C paired with new tracks from the trio of guitarists Sir Richard Bishop (Sun City Girls) and Ben Chasny (Six Organs Of Admittance) and drummer Chris Corsano: the Dead C side is a particular revelation, with the discovery of previously unreleased tracks that were under consideration for inclusion on their masterful 1992 album for Flying Nun, Eusa Kills. On the flip Rangda make with some dazzling power trio moves, re-thinking rock dynamics with drooling polyrhythms and overdosed modal guitar histrionics that take off on Sonny Sharrock circa Monkey-Pockie-Boo.
Major set from composer William Basinski that re-investigates the emotionally devastating potential of his 'disintegration loops': two pieces here, the first of which is a stunning 40 minute dissolve based around an early prepared piano and tape composition from his San Francisco period circa 1979-1980. The piano sounds like its being played in the ruins of Atlantis, with watery tones literally dissolving on the tape to create a profoundly beautiful atmosphere of memorial and reminiscence. The second piece is more contemporary but feels like the perfect companion to the opener, an achingly beautiful piece for tape loop and delay from 2009 that appears in an excerpted form in Robert Wilson's new opera, The Life And Death Of Marina Abramovic. Highly recommended.
"Very very excited to announce the first LP in 10 years by Massachusetts based Angst Hase Pfeffer Nase!! Pretty much nine years it took to make this album, I cannot say I know a lot of people that have the patience to work on one thing that long, maybe I am mistaking hyper neurotic action with patience here though. Angst Hase Pfeffer Nase is the moniker of Chris Cooper, a multi instrumentalist, cat and moustache toucher, neologist and member/guitarist or ex member/guitarist of bands such as Deerhoof, a duo with Bill Nace called Buddies (though Nace would love to see that name changed), Turbwasn, Fat Worm Of Error, Barn Owl, Caroliner etc etc…probably this is one of the most intense and most 'filled' records Ultra Eczema released so far, a precise collage of beautiful sound made with more instruments then a parrot could handle, such as Plastic guitar, bass, clarinet, banjo, optigon/organ,egg slicer, ratchets, broken toys, fan motors, whirliegigs, glasses, tape loops..etc. Poor rabbits quickly hide when they see the red head with the twitching eye play his tunes with more then 34 hands at the same time, this could be the soundtrack for some seriously fucked up road circus, dead rabbits crawl out of a lazy elephants hat while a sad tapeloop of a rotting harmonium plays your uncle vomit's fave cough syrup tap dance blur, oozing for some romantic noise crackles, the nostalgia of the banana fish days puts him down in his cough again weeping like a black cat on an attic in new jersey! Angst Hase has previously released 1 LP, 2 7"s, some comp tracks, and a recycled tape for RRR. Reminiscent to some Caroliner, Kemialliset Ystavat, Hans Grusels Krankenkabinet, etc. Full colour cover art/collage and full colour insert by Dennis Tyfus. Limited to 500 copies." – UE.
2008 American Tapes, numbered, limited to 100 copies. "Old AT group, first leap into the wax world. DCA is a long-standing ??? electronics? ?? and ???? home jamming loner sound unit and here's two pieces of other worldly echoing empty universe tone twisters to inhabit a table-for-one ear vacation to the lurking parts of your daily experience. Sounds like having a huge unknown gnawing entity chase you inside a huge unknown sound world, at any speed. Super weird, not Demoon Skirt weird but more...internal noize stylez. Numbered Edition of 100, crazy inzane sleeve paste on." – John Olson.
In the wake of the late 60s/early 70s free jazz diaspora, where any notion of musical freedom bit the dust along with any notion of FUN writ large (as Richard Meltzer was astutely stupe enough to point out in Autumn Rhythm) adherents of post fire music disciplines became as rare as girlfriends at power electronics festivals. New England saxophonist Paul Flaherty kept a solitary flame throughout most of the 80s and 90s, with his work with percussionist Randall Colbourne providing a phantom umbilical from the original post-Coltrane/ESP-Disk energies on through the late 90s NY jazz revival and into the 21st century's formally diffuse free music explosion. All of the original vinyl albums he released during the 80s and 90s are now extremely tough to find but anyone who is looking for the missing link between the source and the future will find all of em beautifully revitalising spirit-shots at liberating space-time from modern assembly-line logic. Factory sealed.
In the wake of the late 60s/early 70s free jazz diaspora, where any notion of musical freedom bit the dust along with any notion of FUN writ large (as Richard Meltzer was astutely stupe enough to point out in Autumn Rhythm) adherents of post fire music disciplines became as rare as girlfriends at power electronics festivals. New England saxophonist Paul Flaherty kept a solitary flame throughout most of the 80s and 90s, with his work with percussionist Randall Colbourne providing a phantom umbilical from the original post-Coltrane/ESP-Disk energies on through the late 90s NY jazz revival and into the 21st century's formally diffuse free music explosion. All of the original vinyl albums he released during the 80s and 90s are now extremely tough to find but anyone who is looking for the missing link between the source and the future will find all of em beautifully revitalising spirit-shots at liberating space-time from modern assembly-line logic. This set is a sax/bass/drums implosion recorded live in the studio in 1990. Highly recommended. Factory sealed.
Brain-scalding trio jams from two of the hottest outlaw horns ever to stink up whole chains of USA boozers, Mr Flaherty and Mr Shoup. Between the two of them they account for much of the accelerated post-Rock reed thought of the past few decades, combining the kind of fully adrenalised attack that could almost pass for hardcore with beautiful, blues-charged free jazz blurt. The sound of the twin horns just hacking through the air while drummer Chris Corsano literally kills time behind them demonstrates such an incredible conception of sound-in-space fully tied up with the reality of the body that it feels like some kind of spiritual-physical peak in a back catalogue that between the three of them is packed full of wild summits. But this one is something else. Highly recommended.
Killer cassette from Campbell Kneale's (Birchville Cat Motel et al) ecstatic psych/noise project: haven't heard from Campbell for a while and Jet Plane Joy feels like a step beyond, pulling back on the overloaded electronics in favour of hi-jacking straightahead rock riffs and amphetamine punk energy in the service of psychedelic oblivion. It kicks off with a weirdo pirate radio/Broken Flag/Conet Project setting for shortwave hysteria but when the actual riffs kick in it feels closer to La Dusseldorf's vision of endless German ring-roads than an occult noise sounding. Might be Campbell's most glam side to date, loving it...
Privately pressed Japan-only numbered edition of only 200 copies from this mind-blowing new psychedelic Tokyo underground duo: guitarist/vocalist Aoki Tomoyuki is front-man for the hands-down best post-Flashback Tokyo psych unit Up-Tight, while one-time Volcanic Tongue recording artists Harutaka plays saxophone and sings in an emotionally desolate, high-wire style that connects the phantom reed work of a Kaoru Abe or a Masayoshi Urabe with a fraught take on the bleak folk-blues of a Shuji Inaba or a Kan Mikami. This beautifully packaged self-released album marks their debut as a duo and it makes for a thrilling ride. Cutting wild almost Takayanagi/Abe style improvisations with some startling songs, Tomoyuki mainlines his trademark post-Velvets OTT fuzz guitar style into thick beams of endless feedback worship, with the sound of mangled electricity exploding dark, desolate ballads that Harutaka tears apart with an up-close, un-dosed saxophone sound that moves from confrontational implosions to sweet, delicate melodic playing and upper register tone violence. Both Tomoyuki and Harutaka handle the song writing credits as well as vocals, combining the kind of minor chord melancholy of classic PSF-blasted enka with moments of pure tonal eruption, with what sounds like The Legendaly Guitar Amp Tapes put to the service of primo Japanese drug ballads. And when the two fall into the extended improvisations that bookend the folk/punk songs it feels like the next advance in the evolution of one of the most creatively accelerated underground scenes in the world. Fans of La Musica, PSF, the early Takayanagi/Abe duos and the whole Flashback folk/psych/acid sound need to plug this monster in. Very highly recommended!!
New jams from the inspired Australian underground duo of Lucy Phelan (Naked On The Vague/Lucy Cliche et al) and Matthew Hopkins (Naked On The Vague/Vincent Under The Sink/The Bowles et al): even less corporeal than their recent LP on RIP Society, Shapeless Advice is a beautiful slice of shimmering holy music, with disembowelled drones giving way to moments of slow-burning harmonic hallucination in a way that directly parallels Mirror's alchemical use of field recordings and sigilised electronics. The flip is particularly malevolent, with a minimal organic pulse beat that feels supremely unsettling up against background hums and deep dark space in a way that comes over like a minimal wave derive through Current 93's In Menstrual Night. Excellent.
Edition of only 250 copies four track EP that bundles songs by Matthew Shaw for the first time under his own name: this is a striking set that combines acoustic guitar, deep, deep listening fields and Shaw's poetic vocal reveries that take in the kind of microdot visions of sacred map-points and daffy floral Albion-isms of a Mark Fry while connecting with the psychedelic English folk sounds of a Current 93 or Michael Cashmore as well as the loner guitar of a Six Organs Of Admittance. Lush, drone-infused acoustic psych, angelically scored.
Massive side from Marcia Bassett of Double Leopards/Hototogisu et al: this continues in the dense, paranoid, late night cityscape style of her recent releases, with a broken Rhythm Master sounding weird dunting sub-aqueous tones while circuit boards pull voices straight out of the air, with the feel of scanning nocturnal airways and picking up snatches of barely decipherable conversation or machine noise. Later tracks go heavier on the electro rhythms with a weird Coil/Thought Broadcast appeal that says Vanity Records like nothing else. Loving Marcia's recent form and this is another major instalment. Instantly sold out at source.
Jams from Brian Pyle of Starving Weirdos magical solo project: No GPS consist of a radically re-worked live improvisation with Pyle joined by Spencer Doran, Ryan Carlisle and Max Brottman. The weird interzone between first and fourth world sonorities is still present, as is the widescreen delivery, but here there's a little more cultic confusion, with massed vocal owl-calls and heady modal string drones accompanied by the sounds of legions of hands and feet headed for the Ganges. At times the vocal chants sound like the stoned and screwed ghosts of Father Yod and Jim Morrison offering divine communion and when the heady nod-out rhythms kick in it's Amon Duul channelled via interstellar shortwave. One of the darkest cultic mindfucks from this amazing project to date. Recommended!
Stunning new piece from percussionist/vocalist/composer Eric Thielemans, here working with the EARR ensemble: I still treasure the solo percussion/vocal performance that Thielemans gave a few years back in Athens where he held an entire room mesmerised across a series of minimal drum skin soundings and subtle vocal interactions, coaxing psychedelic overtones from his deconstructed drum kit while he sang softly just beneath them. The effect was as magical and transportive as the most devotional minimalism and outside of Keiji Haino's spell-binding hurdy-gurdy/vocal recordings has little parallel in contemporary avant thought. EARR Plays A Snare Is A Bell pushes his remit further still, opening out his concept of occupying and super-charging the acoustic properties of the performance space with nothing but a snare and vocals by inviting an ensemble of friends and musicians to respond to his concepts in whatever form they inspired. Here he recruits two vocalists, a double bassist, a pianist and keyboardist, a trombonist and a guitarist and the results go far beyond any clichéd notion of minimalism or lower case exposition. Indeed, the most startling thing about the ensemble response is just how liberated and aesthetically far-ranging it is. Here we have pieces of sumptuous brass and strings that sound like nothing less than Maher Shalal Hash Baz plays The Art Ensemble's Les Stances A Sophie, strange chamber music instants that sound like odd Chie Mukai/Bill Wells duets, a profoundly moving setting of a Shakespeare sonnet for piano and vocals that is as heartbreaking as anything by Richard Youngs or Alasdair Roberts, creeping metal drone-eroticism that could almost be Neubauten, oddly affecting vocal folk polyphonies, settings from Purcell and Bach that posit a series of contemporary readings that are focused on the sonic aspect of the music as much as the actual notation... Indeed, this is the most liberated take on free music I have encountered in an age, factoring in all sorts of unlikely influences and contagions while responding to Thielemans' exuberant opening up of the possibilities of sound and communal expression when given a single singing tone and a reverberant room to react to. More formally radical than any recent 'improv' side, this stunning LP is one of the releases of the year and sets Thielemans' music and concept up as a profound catalyst for expression of all sorts, from mournful avant classical drones through beautiful folk laments, odd fire music refrains and radical metallic drone. A singular release, haven't heard anything remotely like it, very highly recommended!
Staggering psychedelic guitar excess in a gorgeous private press edition of only 150 hand-numbered copies from the same people who brought us last year's ass-flattening Dark Sunny Land LP: Fadensonnen – aka the Vermont-based duo of 'PD' and 'RD' on guitars, drums, 'machete harmonic', 'feral wah' and 'echo disaster leads' – take the raggedy black psychedelic blueprint of IIIRD Gatekeeper-era Skullflower and the UK experiments in American guitar blitz of Ascension, JfK et al and marry it to an all-in-the-red, soloing-all-the-time wipeout style that would build eternal plateaus of ecstasy sound ala Rallizes Denudes circa France Demo Tapes. The pair trill on grandstanding lead guitar histrionics before deforming the whole thing with nightmarish bottom-end bass dunts that could almost be Yasushi Ozawa and moments of pure, clear glissing space that push amplifier worship to the point of The Savage Resurrection play Hell Is Now Love. The insert pic featuring Lou Reed flipping the bird is just so much gravy and makes this a mandatory purchase for serious VT heads. Seriously; this is the best guitar-as-guitar side of the year that doesn't have some kind of relationship to Nick Mitchell or Heather Leigh, just wild six string excess at a newly deformed and bloody-minded apex of high. The packaging is stunning too, with a fold around b&w sleeve that comes with a thick hard card insert w/paste on photo and credits and a stickered bag. US guitar album of the year? Just ridiculously good, but at 150 copies you better make it quick! Very highly recommended.
Limited split cassette from Flower Man aka Chris Bush of Caboladies and Rene Hell. The Flower Man side features some cracked electronics, with glitch-riddled rhythms and bubbling synth intimating otherworldly melodies via a disorientating series of aural cut-ups and a bunch of hypnotic, almost Maryanne Amacher-scale third ear soundings. The Hell side is more symphonic and dramatic, with hissing drum machines and eerie soundtrack style keyboards giving way to simple Cluster-style melodies.
Debut full-length on Fag Tapes from this Offensive Orange offshoot that combine cut-up live recordings of variously tortured/claustrophobic landscapes sent into orbit via tannoy vocals, electronic drilling, coronas of analog treatment, drums, balloon tones and long static-silenced dooms. Sorta like applying the Omit style of doctored field recordings as revenant psychological space to a bunch of LAFMS/TNB worshipping derelicts with Dictaphones and a bunch of sticky fingers. One of the weirdest environments to make it onto Fag Tapes to date. Edition of 50 copies. Recommended.
Latest instalment in MDTS' on-going series of solo vocal experiments on cassette comes from Dutch avant gardist and sound poet Jaap Blonk. Blonk has little to do with the whole Euro improv vocalising of Phil Minton et al and more to do with post-Dada continental art practice. Here he combines weird mournful/possessed vocal testifying with great serrated walls of howling body drone that has as much to do with Sudden Infant as it does Henri Chopin.
Zoned set of tone hypnotics from Je Suis Le Petit Chevalier aka Felicia Atkinson: a very intimate and up-close series of recordings here, with Felicia generating ululating almost-Eliane Radigue scale drone/feedback works over which she whispers (in French and English) and up close mouth sounds the mic and sings softly to herself about loneliness, giving the piece a similar unnerving magic to Jessica Rylan's classic Juliette, Who Broke My Heart. A singular work, recommended.
Limited solo cassette from Truscinski, drummer with GHQ/X.O.4/Slaughterhouse Percussion, Steve Gunn et al, touches on the detonating Industrial rhythms of Einsturzende Neubauten, Z'EV et al while incorporating great blats of liberated Afro-American fire moves, passages of bowed and scraped drone and some grimy, distorto-primitive punk stratagems. On Bill Nace of Vampire Belt's own label.
Killer cassette from Rambutan aka Eric Hardiman of Century Plants/Burnt Hills et al: archival jams here, made to be played loud, the whole deal starts off with the kind of murky dislocated drone actions of an Aube or a Maurizio Bianchi, generating a smoking miasma of eviscerated tone. Think Symphony For A Genocide/Regel et al. The flip takes the guitars and electricity to the point of flatline, with what sounds like a dream Michael Morley/Flies Inside The Sun supergroup. Another killer from Hardiman.
Righteously fucked-up 'random' collaboration from Sick Llama and David Payne (Offensive Orange/Fossils/Feedback et al) with one heavily-destroyed channel from each. Listen to em one at a time or blast em both simultaneously. You wanna talk about the real junk? Hand-numbered edition of 50 copies.
Latest solo mutation from Heath Moreland, totally warped laminal Llama pile-up: "taking it to the next level in the cracked skull ward. Sick Llama remixed by Sick Llama? Well sort of...embalm yer weEed and blaze it up to this one! colour sleeves, edition 90." - Heath.
Fourth Cases release from Fag Tapes is another formal bodyswerve altogether, with inexplicable almost Fluxus-style sound events, handclaps, mutant horns and percussion rendered in raw, bleeding-tape style. Kinda like a Godz that didn't wanna have fuck all to do with The Beatles, just like you always dreamed it. Edition of roughly 50 hand-numbered copies.
Stunning archival uncovering of recordings associated with Timothy Leary: Counter Culture Chronicles were the label that brought on the Angus MacLise deluge with their early vinyl collection of stray tracks and now the label has reactivated with this recording as well as a cassette of unreleased Jack Kerouac songs, poems and readings. The Radicalization Of Timothy Leary documents Leary's continuous brushes with the law and his subsequent embracing of guerrilla tactics via some revelatory contemporary recordings. First off we get an interview with Leary at Millbrook in '66 where he expands on his psychedelic/religious philosophy. Then we get a fascinating response from Ram Das to the revolutionary letter Leary sent from his exile in Algeria after his escape from prison in 1970. On the flip there is an alternately chilling and vaguely hilarious recording of a communiqué to the underground press from Eldridge Cleaver in 1971 where he explain that he has had to hold Leary and his partner hostage as he suspects they have something wrong with their heads (!?). Finally there is a fascinating interview with Leary, a Flashbacks interview from 1983. A major uncovering by CCC, with more reputedly on the way. Immediately sold out at source, edition of only 100 copies, very highly recommended!
Sub-titled 'Stage Fright', the all-live volume of this on-going compilation series features exclusive tracks from Wolf Eyes, Commune (Raven Strain, Evenings), Sick Llama, Hardline Elephants, Sun Ra Arkestra and Walter Carson. Limited edition of 50 numbered copies.
This legendary run of live comps compiled by Heath Moerland of Sick Llama/Fag Tapes just keeps on keeping on. Hard to think of another cassette series that so perfectly expresses the mode of the underground circa now. This one features wild, murky jams from Sick Llama, Slither, New Pledgemaster, Cotton Museum and Steve Kenney (Demons). Hand-numbered edition of 50 copies.
The Fag Tapes cultus staggers mindlessly on with a classy Roger Corman-style exploito compilation of supremely degraded live filth from a bucket full of contemporary actionists: Luasa Raelon (stars of that great Hive Mind collab), Odd Clouds, Taliban, Fe-Mail and the always killing Charlie Draheim. Comes with a blob of goo on the inside fer a change, so yr collection has a better chance of staying intact. Highly recommended as ever. Edition of 77 copies.
Edition of 100 copies cassette album follow-up to electric oudist and guitarist Derek Monypeny's outstanding vinyl debut, Don't Bring Me Down, Bruce LP. A collection of studio jams and massively treated string duels, this set is a world away from the post-Sandy Bull fourth world stylings of his debut, with variously stringed instruments treated to the point of illogic explode and fast slashing collages of six bleeding strings that come over like knives ran across electricity pylons or fast modal drone/dirges with the kind of screaming noteage that would reconcile the late John Coltrane Orchestra with Hototogisu. Monypeny is best known as a member of Sir Richard Bishop's travelling ensemble but here he makes a stake for a conception of the parameters of variously translated formal/cultural/biological folk modes as the keys to the goddamn kingdom that is every bit as persuasive as Sun City Girls at their most alien. A massively potent listen, highly recommended.
Fantastic new CD/Book set from Andy Sharp's singular English Heretic project: this is a massively ambitious set with a book that joins the dots between the dream/nightmare as completely divorced from notions of psychological hygiene while riffing on death, the descent into the underworld, Fulcanelli, Kenneth Grant, Malcolm Lowry, Michael Bertriaux, The Asphyx, the head of John The Baptist, The Haunted Shoreline, World In Action, Hiroshima and more. Coming with a full book of essays, notes and a listening guide, the CD represents a major coming together of Sharp's obsessions and plays out like an uncanny fever dream of Coil re-soundtracking Jeff Wayne's War Of The Worlds (long a personal fantasy, ha ha), using field recordings, walls of omming Buddhist monks, snippets of classic prog rock and a convulsive, oracular vocal style that comes right out of England's Hidden Reverse. So much to get your head around here, a truly magickal trip, very highly recommended!
Limited edition fanzine produced by Black Petal and A Binary Datum featuring art by Joshua Burkett, Matt Earle (Breakdance The Dawn/Craft Bandits/xNoBBQx et al) and Daniel Lebow, photos by Daniel Lebow, photos by Clint Morgan, poetry by Ian-John Hutchinson, a review of the Japanesse curry house run by Pirako and Kageo of Suishou No Fune (!), an interview with Tetuzi Akiyama, a short story by Jienko Kurosato and a review of Takahiro Hirama's 'Thr Eat Rhy Thm' CD-R. Packaged in the usual exquisite Black Petal style, handbound with string with an obi strip and fold-out pages. Each copy comes with an original A4 lithograph by Joshua Burkett.
Limited cassette from this North of England tapes/noise/vocals/instants composer: Posset toured with Bill Orcutt when he was over in the UK and although their working strategies are pretty far removed there's some semblance of a connection in the convulsive nature of their approach to sound-as-thought, with Posset spooling through damaged vocal improvisations and crunky tape work with alla the furious start/stop epiglottal fury of your favourite hiccupping guitarist. But there's a whole lot more here too. Some of the woozier pieces recall a Ghedalia Tazartes in full-on fourth world ghost style plus some of the constructions feel closer to sound sculpture than tape abuse, with small vibrating structures that vibrate with the off-kilter lifeforce of a Harry Bertoia or a Harry Partch.
Edition of 35 cassettes in blood-red slipcases with a handful of stoned oscillating caveman tones from this one-man hypnotic with a previous release on Heavy Blossom.
Instalment from Heath Moreland of the Fag Tapes empire's gloopy cough-syrup-inspired noise crud series, with huge spoons of woozy electronic decay gobbled up in warps of distortion, delay and wonked tapes. Beautiufl full-colour art by Maya Miller of Double Leopards and the usual suave Heavy Tapes presentation.
Massive album from Marcia Bassett (Double Leopards/GHQ/Hototogisu et al) aka Zaimph, the debut release for her new private press imprint Yew: Imagine Yourself Here... moves away from Bassett's previous post-Taj Mahal Travellers-style outer-space drone and into a more rigorous, compositional zone that factors in aspects of occult geometries and psychogeography, mapping the night-time spaces of the city via two side-long pieces. The first side consists of a collage of many different recordings which came out of a period of working on a soundtrack to a film and that utilises ExiTrip, an obsolete transmitter for iPods. The feel is of a city under surveillance, paranoiac, with a nexus of ghost voices and virtual sonic environments conjured from straight out of the air. Strafing neon drones cut-through the fuzzy darkness while inchoate electronics jump-cut between time-lines. There are aspects of Peter Christopherson's ambiguous tape work in Throbbing Gristle and Coil as well as Alan Lamb's alchemical translations of faraway wires before the second half opens with Marcia breathing wordless angel vox over skittering electronics and various low-level percussive sounds while the crackle of pure current feeds into a high keyboard mass and arcs of torrential fuzz, with the disembodied voices providing a psychotic, mind-loosening finale. It's a stunning work, a complex and deeply atmospheric soundworld that has little parallel outside of perhaps the tape-work and hermetic nocturnal soundings of New Zealand's Omit, especially Quad, the monster three CD set that Bruce Russell put out via Corpus Hermeticum. Over on the flip there's the most profoundly alien of live one-take solo guitar pieces of Bassett's career, arcing with all of the lunar majesty and outer space energies of Solstice/Musick To Play In The Dark-era Coil, with six strings processed until they sound like an orchestra of backwards harmoniums hymning the heavens. Imagine Yourself Here... represents a major evolution of sound for Zaimph and comes very highly recommended!
Edition of 300 copies private press LP from this phenomenal free rock/destructo blues/space freak outfit led by wheelchair-bound shaman Danny Cruz: playing with the kind of collection of drop-outs, kids with Down Syndrome, metallers, goofballs and teen freaks that would make The Familiar Ugly blush, FDOME are not a ha ha band, Cruz says, and their sound ranges from Godz/Trux-style basement 'billy drug jams w/rude lyrics and hypnotic brass assaults through proto-Beefheart/Broughton huffing biker trash w/Roky Erickson circa I Think Of Demons on vocals. I think at one point he is singing about making love to Donkey Kong, motherfuckers, and the music is just as spontaneously unlikely. Think Trout Mask Replica truly disconnected from Beefheart's "big mamma heartbeat" and with a mainline to free jazz that has as much to do with The Shaggs as it does New York Ear & Eye Control and Harry Smith's Anthology. Genuinely out, beyond any notion of real people, spontaneous basement rock at the apex of feral. Too much and very highly recommended! Love this band.
Massive new album from a dream-team trio that sees Japanese guitar god Keiji Haino paired with long-term collaborator Oren Ambarchi on drums and Stephen O'Malley of Sunn O))) on bass: recorded live in Birmingham in 2013, Haino is on ferocious form, with deep void-gobbling vocals over peaks of flayed single chords and heavy synth drone while O'Malley sounds tectonic bass notes and earth quaking rhythms. Ambarchi has proven himself the heir to the detonating style of Ikuro Takahashi and he cuts a swathe through the front-line, now sounding constellations of delicate cymbal tone, now rocking the bandstand, but here he also rolls out these endless pattering grooves that Haino speckles with some of his most illuminatingly beautiful and delicate single note solos and gasps of slowly ascending choral wordage. Once more the atmosphere is highly ritualistic, with a heavy electronic re-think of the Nijiumu sides, buckled with devastating cracks of pure electricity. "Who Is Making The Time Rot" (woah!) sees Haino playing in a downtuned gruff gasoline-stained biker rock style that suits the rhythm section perfectly as they degrade it to the point of Tokyo 1980. The title track is wild, a hiccupping two-note boogie that O'Malley and Ambarchi hunch down heavy on in a damaged power trio re-think of the sound of Seijaku. Another monster, beautiful presented and with one of Haino's most outrageous proto-Fushitsusha titles, this is very highly recommended!
Unlikely vinyl reissue of this amazing Wildman/outsider garage psych/punk side, the first of a string of albums cut by Ron Warren Ganderton while resident in the UK between the early-70s and early-80s. 1978's Guitar Star might even surpass the better known self-titled LP as the apex of his cracked, personal vision with his endless, hysterically free-associating lyrics providing a running commentary on the jams, conjuring visions of himself as the ultimate in excessive rock gods, ranting about rock n roll freedom and visions of blood-pumping/fist-pummelling power chord excess. Rodd Keith and Kenneth Higney may be the closest parallel in terms of the kinda bandstand-quaking energy and belief Ganderton brings to the table but the music ain't no slouch either, with a post-punk sound that touches on England's Glory/The Only Ones in the way that they combined classic rock/roll moves with a nod to The Velvets. Throw in some Mike Rep/Tommy Jay style rock goofs and aspects of the amazing Smegma/Wild Man Fischer side and you have all the ingredients for one of the truly legendary/what the fuck off the radar rock/roll as personal deliverance sides of this or any age. A wild, wild boy. Edition of 500 copies, notes from Jeremy Cargill (Ugly Things et l), highly recommended.
Edition of 300 copies private press LP that reissues what was originally a tiny private press cassette issued earlier this year in a miniscule run of only 35 copies from UK soundist/pianist Tom James Scott: this is a gem of a recording, recorded during the summer of 2013 after Scott returned to his hometown on the North-West coast of England, and moving between lush, endlessly deep sound environments and moments of spare stasis. Scott describes it as evoking "the tensions and ease of summer spent in a place haunted by distant memories and fading childhood sentiment" and that's as good a description as any of the endlessly suspended quality of the music. It seems to exist in an alternate dreamtime, a mis-remembered place of childhood that might never have taken place, with slow sighing tones, endless vistas of crystal clear glissing tones with blooms of distant birdsong flowering in the depths and cloudy feedback hymns to the giving up of memory. The sounds of the sea and the shore feature heavily, in line with the sleeve, as gorgeous, slightly off-kilter delicate piano lines fall like distant rain and the sun drones down on the sand. Features heavenly electric piano stylings and haunted source sonics from Andrew Chalk as well as clarinet by J N Rebilly. A landmark side, beautifully presented and very highly recommended!


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Sammy Nestico, composer. Featuring Marvin "Smitty" Smith (drums), Jon Werking (piano), Steve Marcus and Walt Weiskopf (tenors).
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USEF is accepting bids to host 2015 Reining National Championships
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or download through the App Store on your iPad. Retweeted by USEFNetwork 11/25/2014 5:41:52 PM
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Success! First ever #Eventing18 participants thrive in 2014 ->
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Congratulations to Lucy Davis and Barron for finishing 2nd in the World Cup Qualifier this afternoon at Stuttgart #speedy Retweeted by USEFNetwork 11/23/2014 2:16:32 PM
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Brianne Goutal and Onira Win $50,000 RBC Financial Group Cup 1.60m
RELEASE: June 30, 2013
AUTHOR/ADMINISTRATOR: Jennifer Wood Media, Inc.
Brianne Goutal and Onira (Spruce Meadows Media Services)
Calgary, Alberta
– The $50,000 RBC Financial Group Cup 1.60m was the highlight event of the day and fans saw Brianne Goutal (USA) ride to victory with her veteran partner Onira. In the All Canada Ring, Shane Sweetnam and Fineman were the only clear round to win the $25,000 Direct Energy Derby 1.45m. Today's competitions were the start of weekend competition for the 'Canada One' Tournament in the Spruce Meadows Summer Tournaments.
The 'Canada One' Tournament wraps up tomorrow with the $100,000 Esso Challenge, the third FEI World Cup qualifier to be held at Spruce Meadows this summer. Admission and parking are complimentary for this week.
There were 20 entries in the $50,000 RBC Financial Group Cup 1.60m, and nine were clear in the first round and moved on to the jump-off. The riders competed over a course designed by Michel Vaillancourt of Canada.
Goutal noted, "He's been building great classes all week. He's one of my favorite course designers. I find him just to always build difficult and complicated and technical classes, but they're always fair."
The trailblazer in the competition was Reed Kessler (USA) on Mika, who was first to go in the first round and in the jump-off. They were clear in 40.69 seconds, which would hold up for fifth place.
Jonathan McCrea (USA) and Colorado had the second fence down for four faults in 44.13 seconds. They would finish in eighth place. Jonathan's wife, Christine McCrea (USA), was next in on Zerly. They took an early lead with a clear round in 38.73 seconds, but they would have to settle for fourth place at the end of the jump-off. Enrique Gonzalez (MEX) and Quilebo D Tillard had two fences down in 38.15 seconds, which would finish in ninth place.
The lead changed hands with the next horse in, Carlos VHP Z ridden by Nick Dello Joio (USA). They set the new time to beat at 38.61 seconds and they finished in third place. McLain Ward (USA) and Zander had a bead on the lead and finished with the fastest time in the jump-off in 37.21 seconds, but it came at a price with four faults at jump 11a.
Kirsten Coe (USA) and Calypso were the next to bring the winning time down. They galloped through the timers in 38.41 seconds and finished in second place. Jos Verlooy (BEL) and Domino were also clear, but with a slower time of 40.74 seconds, they would slot into sixth place.
It all came down to the last rider in the ring. And although she said she "hates going last," Brianne Goutal was able to show how it's done with her 17-year-old partner Onira, a Dutch Warmblood gelding by Nimmerdor x Ramiro Z. They zipped around the turns and stopped the clock in 38.15 seconds for victory.
"The eight before me were very, very fast," Goutal recalled. "I have a small stride, so it enables me to do the same numbers but faster. I have to go faster to get the same numbers. I think that just up until the last line, I was able to be faster across the ground. In fact, I was slower in the last line because I couldn't get the leave out. For sure I slowed down there. Kirsten's horse has a huge stride. What's unusual about that horse is that even though it's so big, it has high foot-speed. That's a hard combination to beat. But you get lucky and my horse jumped amazingly today."
Onira is owned by Goutal's Remarkable Farms LP and she has been riding him for 10 years. They have risen through the ranks together from the junior jumpers to the 1.60m level and have competed at the FEI World Cup Finals together.
Goutal is rightfully effusive about her horse. "He's so special. They broke the mold with him. He's one of kind," she expressed. "He's been a winner since the day I bought him, probably since the day he was born. He has a different attitude than any horse. When you walk in the barn, you can see the way he looks at you. He's just a different animal. He's so smart. He knows much better before you know it. (From) an advantage standpoint, he's the best horse in the class. It's up to me to help him out or not make mistakes, because I have a major advantage jumping each class with him."
Goutal said that Onira loves Spruce Meadows and that this was the best consecutive three weeks that he's jumped here. What also helps the mature gelding is the great footing at Spruce Meadows and the weather. Goutal explained, "Coming here for him is so great because it's cold at night. You go out there in the morning, the legs are tight, they're fresh and happy. They're not sweating all night in the stall. They can recuperate and for a horse like that, and for any horse that gets older, you have such a better horse in the morning."
To help Onira stay show-ready, Goutal works on his fitness. Three times a week, he is ridden twice a day, and he only shows once a week. "That horse is as fit as any supercharged runner," she commented. "I struggled a lot with how to manage him. I find that as horses get older, they need to keep jumping and keep the tendons and everything moving. Fitness is imperative. I try to keep him moving as much as possible. Every horse is different, but that horse wants to win, wants to show, wants to jump."
Goutal has had a good series at Spruce Meadows. She said, "It seems like it's all coming together now. The horses have all been great. We're so lucky to have this venue. The footing is amazing every time you go in the ring and even when the weather's bad, it holds up. We have great prize money and of course, it's run impeccably. I think all of the riders are very grateful to have this summer series."
Final Results: $50,000 RBC Financial Group Cup 1.60m
1. ONIRA: 1996 KWPN gelding by Nimmerdor x Ramiro
BRIANNE GOUTAL (USA), Remarkable Farms LP: 0/0/38.15
2. CALYPSO: 2002 Belgian Warmblood gelding by Orlando x Denver
KIRSTEN COE (USA), Ilan Ferder: 0/0/38.41
3. CARLOS V.H.P Z: 2002 Zangersheide gelding by Chellano Z x Voltaire
NICHOLAS DELLO JOIO (USA), EM Horses: 0/0/38.61
4. ZERLY: 2004 KPWN mare by Querlybet Hero x Carthago
CHRISTINE MCCREA (USA), Candy Tribble: 0/0/38.73
5. MIKA: 2000 Selle Francais gelding by Nidor Platiere x Rubis Rouge
REED KESSLER (USA), Reed Kessler: 0/0/40.69
6. DOMINO: 2003 Warmblood gelding by Thunder van de Zuuthoeve x Azur Depaulstra
JOS VERLOOY (BEL), Axel Verlooy: 0/0/40.74
7. ZANDER: 2004 KWPN gelding Cantos x Saygon
MCLAIN WARD (USA), McLain Ward & Grant Road Partners: 0/4/37.21
8. COLORADO: 2002 BWP stallion by Concreto x Cannonball
JONATHAN MCCREA (IRL), Candy Tribble: 0/4/44.13
9. QUILEBO D TILLARD: 2004 Selle Francais gelding by For Pleasure x Quat Sous
ENRIQUE GONZALEZ (MEX), Enrique Gonzalez: 0/8/38.15
10. ROUNDTHORN MADIOS: 2002 Irish Sport Horse gelding by Condios x Clover Hill
LAUREN TISBO (USA), Tequestrian Farms, LLC: 4/71.62
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USEF Now Accepting Bids to Host 2015 Adequan/USEF Open Reining National Championship and USEF Youth Reining National Championships
Lexington, Ky. - The United States Equestrian Federation (USEF) is now accepting bids to host the 2015 Adequan/USEF Open Reining National Championship and USEF Youth Reining National Championship. Bid applications for the Adequan/USEF Open Reining ...
Drugs and Medications Update for 2015 Competition Year
Lexington, Ky. - Effective December 1, 2014, and for the 2015 competition year, the United States Equestrian Federation (USEF) has implemented withdrawal practices following Intraarticular Injections and Shockwave Therapy as a result of rule changes ...
Inaugural Eventing 18 Program Deemed A Success as Participants Thrive in 2014
Lexington, Ky. - The United States Equestrian Federation (USEF) hosted 12 up-and-coming riders in the inaugural Eventing 18 Program in 2014. All Participants put the lessons learned in January's Training Sessions with U.S. Team Coach David ...
Fourth Annual Camp Black Prong
Trucks and trailers arriving on Thursday, tires crunching on the gravel, check in and head to assigned stabling and cottage. Hooves on tailgates, whinny of old friends meeting again. Hay, feed, harness, whips, and all associated equipment unloaded ...
Big and Small Tour Dressage Combinations Enjoy Successful USEF Dressage Observation and Strategy Sessions
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IGM 10th Anniversary Celebration Banquet
Friday, Sep 19 9:00p
Gaylord Springs Golf Links Nashville, TN
On Friday, September 19 th at 6:00 PM, IGM will kick off a three day anniversary extravaganza celebrating ten years of ministering to God's people. The celebration will feature world-renowned musician Myshel Wilkins, whom In 2005 the music industry open it's door to her. Singing background and touring with R&B singer Tamia, Kelly Price, Mandisa of American Idol and TobyMac to name a few. Myshel released her own debut album entitles "Relentless" in 2012.
The Friday celebration will also feature Kunle… Show more
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Gaylord Springs Golf Links
18 Springhouse Ln.
Nashville, TN 37214
18 Springhouse Ln.
Nashville, TN 37214
Show nearby:
0.8 mi 1 John A's
0.9 mi 2 The Music City Bar & Grill
1.0 mi 3 Scoreboard Bar and Grill
1.0 mi 4 Nashville Palace
1.4 mi 5 Gibson Showcase
1.4 mi 6 Dave & Buster's
1.4 mi 7 Rainforest Cafe
2.7 mi 9 Watanabe
3.1 mi 10 Pied Piper Eatery
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