Gianni Menichetti - Shee and other poems
Kabouter Chismus - S/T
Sinclair Beiles - Chopin in Majorca
HUM°° - Le Chat à Neuf Queues
Fursaxa - Immured LP
Bart De Paepe - mellow my mind: a sloow tapes discography
Harold Norse - Wise to Its Poisoned Condition
Gregg Sharits - Bone Wings
orders & contact: sloowtapes at g mail dot com
Tuesday, May 17, 2016
Sloow Tapes Book
Never before published poems, drawings and collages by Gregg Sharits, brother of Paul the celebrated filmmaker. Gregg was an original member of the Bardo Matrix crew when it was still a psychedelic lightshow operating from Boulder, Colorado together with John Chick, Dana Young and Craig Love. Introduction and additional photo’s by Craig Love. Edition of 50 copies.
Wise to Its Poisoned Condition
Sloow Tapes Broadside #11
Between 1960 and 1963 Norse lived in Paris with William Burroughs, Ginsberg and Gregory Corso in the hotel in the Latin Quarter known as the "Beat Hotel". Although initially wary of the Beat writers' literary credentials, Norse collaborated with Brion Gysin on the cut-up technique and was briefly an acclaimed painter of ink drawings soaked in the hotel bidet, known as Cosmographs.
Norse described himself as a "lone-wolf" and he refused to join the pack, at some cost. In many ways he was more "Beat" than the Beats: Jewish, illegitimate, homosexual, Norse was an outsider who quietly produced some startling and technically accomplished verse from the fringes of the US literary scene. ‘Wise to Its Poisoned Condition’ is an unpublished poem written at the time he lived at the Beat Hotel and illustrated with a mylar portrait by Ira Cohen. A5 size.
Sloow Tapes – CS 40
Kabouter Chismus was a short-lived project of Dutch singer-songwriter Nico Denhoorn and singer Minneke Walstra. This record represents a certain Dutch hippie movement that started out in the early sixties called Provo. Provo in Holland was one of the first worldwide movements of youth culture created in 1964 and in a way precedes many of the later proper hippie movements of America. It was very much influenced by Beat Generation writers, Marquis de Sade, Dada and anarchism. The Provo generation were one of the first generations to question environmental problems, challenge conservatism and advocate for women emancipation and progressive acadamic innovations in post-war Europe. When the provo movement somewhat vanished in the same way Dada had decades earlier it gradually transformed into a movement in which people called themselves Kabouters, meaning Gnomes. basically the Kabouters took the provo mentality further into the years to come. They called The Netherlands Oranje Vrijstaat, which means Orange Free State, opposing the monarchy and wars western countries were engaging in during cold war. During that time Amsterdam was globally regarded as a liberal hippie capital. Its reputation of freedom to smoke weed and absolute freedom for gays is also rooted in this era.
Musically this album is sometimes reminiscent of Boudewijn de Groot, but more versatile. The basis is acoustic guitars with added electric guitars, flutes and other instruments. Some songs are in English and some are in Dutch. Official reissue, 100 copies.
Sloow Tapes – CS 40
A couple years ago I received a demo in the mail which frankly blew me away the minute I hit play. Some of the best late night listening I’ve heard recently. Spencer is from Texas and his music has the same loner vibes as Charalambides and the early blues legends. Essential. 70 copies.
a stunning collection of late night loner ballads informed by LEONARD COHEN, JERRY JEFF WALKER, TOM WAITS, NEIL YOUNG's ditch trilogy, SPRINGSTEEN's NEBRASKA, maybe some JONATHAN RICHMAN, finding hushed intimated contemporary comparison to SONGS: OHIA's DIDN'T IT RAIN and CONSTANTINES frontman BRY WEBB's solo albums, almost has the same slacker vibe as ex SIC ALPS frontman MIKE DONOVAN's solo debut WOT except the bad day blues are much more severe for DOBBS, maybe like down and out WOODEN WAND (thinkin BORN BAD) minus all the wry humor and off kilter wit, as some of the songwriting here gives TOTH a good run for his hard earned hard luck money -- the instrumentation is simple and incredibly sparse yet powerful, almost funereal - just a handful of guitar strums and piano chords with minimal overdubs, at times i could be convinced that this was some improbable IGGY POP reel of strung out bedroom ramblings, just him and a piano shambling through variations on "we will fall" with a touch of flute or sax or somesuch added for gravitas
as the tape inexorably rolls along it seems to unravel more and more along the lines of the most damaged and desolate stuff from CHRISTINA CARTER and CHARALAMBIDES -as SLOOW's brief blurb suggests- channeling early 80s JANDEK sides - ok it doesn't unravel -that- far, but i think that's a fair reference point for plotting it's trajectory, finishing with an unexpected reeled in nine minute opus with a STEVEN R SMITH at sunrise vibe, though the lyrics temper the relatively optimistic sound - "you don't know what love is until you know the route from hell" - that's potent stuff - this tape is loaded, i figured i would dig it but, man, i didn't expect to get utterly destroyed by it
highest possible recommendation (Psi lab)
Shee and Other Poems
Sloow Tapes – CS 30
Gianni Menichetti lives with his family of animals in a wild canyon near Positano, on the Amalfi coast in Italy. He wrote several chapbooks of poetry and also a beautiful memoir of Vali Myers. It took a while to get him recorded but here it finally is. Seeping with atmosphere and the occasional outdoors. Cover illustrated with drawings by Gianni and handwritten text. 100 copies.
Wednesday, February 24, 2016
Bart De Paepe
mellow my mind: a sloow tapes discography
Chronicling the first 10 years of Sloow Tapes, mellow my mind gives an overview of all the tapes, broadsides, lp’s and booklets published so far. From Keijo's desolate avant/acid folk moves to Fursaxa's spiked organ drones with a short detour by way of Ira Cohen's Akashic Records. Fully annotated with detailed information about the tapes, promo texts, reviews and a few texts written especially for this publication by Bart De Paepe, Matthew Parry and Louise Landes Levi. Full color. A co-producton with Kraak. 300 copies.
LP - Sloowax 005
Listening to Fursaxa’s music is like strolling around at night in a dark forest under a full moon’s gaze and getting lost in crystallized spider webs spun by Rumpelstiltskin. Boiling down Hildegard von Bingen, Nabakov and Nico in heavenly spiked acid folk layered with organ drones, percussion and chanting. 300 copies.
The best way I can think of to describe Fursaxa's music would be, psychedlic acid-freak-folk and the project is led - and vocalised by - Tara Burke. Cheap casio keyboards, acoustic guitar, accordion and dulcimer are utilised - as well as Tara's haunting vocal, sometimes primal-scream-ish wails, sometimes pretty and Nico-ish, chanteuse-like; the overall effect is spooky and beguiling. The kind of music Liz Harris of Grouper fame is probably well into.
Tara is influenced by minimalism, Medieval and Renaissance music and the song titles kind of give this away; "Moon in Cancer" opens the record and elsewhere titles such as "Ancient Anodyne", "Standing Stone" - particularly ancient sounds on this track; "A Pomeranian Rite" and "Outside the Cloister Walls", which is a highlight featuring multi-tracked vocal at varying pitch; the effect is a little unsettling. "TKSI" is a particularly languid, solemnly droning example of freaky folkness. "Troglodytes" closes side A and is one of the many gorgeous, multi-tracked vocals which recur throughout the record.
Accordion crops up on "Triptych", primeval howls and organ on "Sardonyx", and more shivery Medieval sounds than you can shake a stick at across the remainder of the record. Interesting. But probably better not to listen to if you're alone and in the dark. (Norman Records)
Als vor sechs Jahren Tara Burke unter ihrem Projektnamen Fursaxa auf ATP Records „Mycorrhizae Realm“ veröffentlichte, da war das das bislang fertigste, eventuell auch (im weitesten Sinne) zugänglichste, weil songorientierteste Album. Ein Album, das so klang, als habe eine die Bezeichnung Weird Folk verdienende Band sich entschieden, sich nicht an der glasklaren Stimme von Comus‘ Bobbie Watson zu orientieren, sondern eine Wiedergängerin Nicos als Chanteuse auszuwählen: „Was Stimmung wie Stimme anbelangt, könnte man fast soweit gehen und sagen, dass Fursaxa näher an Nico als an Vashti Bunyan oder Shirley Collins ist“, schrieb ich damals. Das Album zeigte, dass (gute) Folkmusik oftmals von jedweder Betulichkeit meilenweit entfernt ist.
„Immured“, das erste Album seit 2010, erinnert wieder etwas stärker an frühere Alben, ist –wenn man so will – weniger poppig (wobei das Adjektiv nur im sehr weitesten Sinne auf Fursaxa zutrifft). Man hört Glocken, Drones an der Grenze zur Dissonanz, Stimmen murmeln: Das das Album eröffnende „Moon in Cancer“ kann man sich in seiner Archaik auch gut auf dem Soundtrack zu Justin Kurzels „Macbeth“-Verfilmung vorstellen.Vielleicht könnte man sagen, dass hier fast schon das Verschwimmen von „foul“ und „fair“ musikalisch umgesetzt wird. “Ancient Anodyne“ wird von Burkes Klagegesang dominiert, der von Flöten und wenigen Gitarrentönen untermalt wird. “Concertina“ lässt in seiner Mischung aus Harmoniumdrones und Gesang an Charlemagne Palestine denken. Dabei setzt Burke nicht nur auf akustische Instrumente: Auf „Yksi“ wird Burkes Stimme von elektronischem Brummen untermalt. Das die erste Seite des auf 300 Exemplare limitierten Albums abschließende „Troglodytes“ ist ein Trauerlied aus sich überlagernden Stimmen, das wie eine LoFi-Version von Dead Can Dance zu Zeiten von „The Serpent’s Egg“ klingt. „Standing Stone“ lässt einen glauben, Machens „little people“ hätten Backward Masking für sich entdeckt, bevor sie mit Rasseln den großen Gott Pan anrufen. Auf „A Pomeranian Rite“ spielt Burke das Harmonium, während sie rezitiert, beschwört. Dass ihr Album an einem als „The Hestian Den“ bezeichneten Ort aufgenommen wurde, passt da sehr gut. Das Album wird von „Serpents Twisted“ beendet: Inmitten von Dröhnen und Brummen ertönt Burkes geisterhafte Stimme, die aus dem Äther zu kommen scheint, aus dem Zwielicht, das die Heide/den Heiden nur fahl beleuchtet.
„Immured“ ist ein archaisches, ursprüngliches Album, wahre Ur-Musik, die in der Lage ist, Daturaträume im Hörer zu erzeugen. (M.G.) (African Paper)
No es de extrañar que Tara Burke / Fursaxa tenga un disco que se llama “Sola en el bosque oscuro”. Se me ocurren pocos títulos que puedan describir mejor su música. Sus canciones (igual que las de Charalambides, White Magic, Daniel Higgs o incluso Grouper) desprenden un aire chamánico, hipnótico, tribalista. Situada estilísticamente en las antípodas de lo moderno y lo urbano, Tara Burke se nutre tanto del minimalismo de Terry Riley como de la música folklórica de los apalaches, el rollo medieval o la psicodelia. Si entrais en su perfil de Discogs vereis que tiene unos novecientos discos publicados (Ecstatic Peace, Important, autoeditados…). Que no panda el cúnico: molan todos, creedme. Incluso los que tiene con su anterior grupo, UN. Casiotones baratos, farfisas, drone, acordeón, guitarra, flautas, coros de misa hechicera en loop + delay… Algunas canciones son instrumentales y otras tienen muy poca instrumentación, pero todas te transportan a un lugar especial, que no es algo que se pueda decir de los jodidos Tame Impala o de Courtney Barnett. Ese lugar es inquietante y reconfortante a la vez, como cuando ves el cadaver de un animal en el bosque y no puedes dejar de admirar la escena.
Dentro de poco Pargueland organizaremos una excursión al Montseny para escuchar Fursaxa en el bosque, por la noche. Beberemos ron, comeremos cheetos, nos fumaremos unas rayas de peyote y haremos una orgía. Ya os avisaremos, si es so (Pargueland)
Wednesday, December 09, 2015
Wisdom That’s Gone
Sloow Tapes Poetry Broadside #6
Gianni Menichetti lives with his family of animals in a wild canyon near Positano, on the Amalfi coast in Italy. He wrote several chapbooks of poetry and also a beautiful memoir of Vali Myers. Illustrated with a drawing by Gianni Menichetti and a photo by Marco Bakker. A5 size.
Cut Up Into The Last Resort
Sloow Tapes Poetry Broadside #7
Surrealist Greek poet, who hung out with the likes of Dylan Thomas and André Breton. This poem first appeared in Bastard Angel (edited by Harold Norse), and is dedicated to William Burroughs. Illustrated with a drawing by Marie Wilson. A5 size.
Purandara Dasa Day
Sloow Tapes - CS 60
More spiritual charged improvisations by one of our favorites: Bul Bul Tarang Gang. This time they pulled out all their magic tricks and cooked up some real organic music with more of a jazz-feel to it. The Gang casts hypnotic meditative folk raga spells with harmonium, bass, lots of percussion and of course bul-bul tarang (courtesy of Ravi Padmanabha). Edition of 100 copies.
Chopin in Majorca
Sloow Tapes - CS 60
Sinclair Beiles (1930-2000), one of South Africa’s more unusual and often underrated poets, left his home country in the mid-fifties and after spending time in New Zealand, Spain and Morocco he moved to Paris which at the time was the centre of international bohemia. Beiles worked in Paris as chief editor for publisher Maurice Girodias’ Olympia Press and established links with the American beat generation of writers, particularly Allen Ginsberg, Brion Gysin, Gregory Corso and William Burroughs. Together they collaborated on the legendary collection of Dadaist cut-ups, Minutes to Go. When the Paris scene fell apart in the early sixties, he left for Greece. In 1969 Beiles published a volume of poetry Ashes of experience, his first substantial publication.
Beiles returned to South Africa in the seventies and later married fellow poet Marta Proctor. They moved into a house in Yeoville, Johannesburg and soon became part of the Yeoville artistic group in the eighties. He often performed his poetry live, at venues such as the Black Sun. In 1997 Beiles finally received some recognition when the French Cultural Institute and the British Council of Johannesburg organised a Beat Hotel exhibition in Carfax where Beiles read his poems. Beiles had a history of mental instability and his illness made him at times unpredictable and volatile. ‘Chopin in Majorca’ is a one-man play and was recorded in 1989. Cover photo by Gerard Bellaart. Edition of 100 copies.
Le Chat à Neuf Queues
Sloow Tapes - CS 40
A musical hommage to the Franco-Belgian comic strip series Philémon by Fred, which started in the mid-sixties. The general tone of the series is of fantastic realism, depicting the adventures of the young farmboy Philémon in surreal adventures featuring odd creatures in odd places, and it is considered one of the most poetic and original bande dessinée series of all time. The music is just as good, improvisations on guitar (Bart De Paepe) and accordion/percussion (Anne Collet) that weave psychedelic flicker patterns on the magic lantern of your brain. Edition of 80 copies.
Monday, June 22, 2015
Sloow Tapes - CS 40
Never before published interview with Patti Smith by Michael Köhler from ’77 in which she talks about her influences and the art of performance. As an added extra there is her full performance at P78, in Paradiso. Cover by Harry Hoogstraten. Edition of 100 copies.
Raising Holy Sparks
Old Times & End Times
Sloow Tapes - CS 40
Psych folk drone music by David Colohan lost in the mists of time. Featuring Alison O’Donnell of Mellow Candle fame. 80 copies.
"Psych folk drone music by David Colohan lost in the mists of time. Featuring Alison O’Donnell of Mellow Candle fame." -- on the face of it, OLD TIMES & END TIMES is hardly anything like the RAISING HOLY SPARKS works i'm familiar with, which admittedly is far fewer than i should be, my primary point of reference is FOUR SACRED MOUNTAINS which flew under my radar in 2013 via AWKWARD FORMATS as a double cassette box set, which i loosely described to a friend as "kinda like if NATURAL SNOW BUILDINGS ate STARS OF THE LID and belched this out" - meanwhile OT&ET washes up on the shore of otherworldly folk where trails blazed by folks like BEN CHASNY and PHIL ELVERUM are now found abandoned and overgrown, so it forges its own way through the wilderness with some shimmering psychedelic drone that fortuitously washed up alongside, and some male/female vocals that at times recall BIG BLOOD - it's not what i expected, but fantastic nonetheless(Psi Lab)
Hans Plomp - Mutantra
Prophecies & Spells
Sloow Tapes - CS 70
Mid-eighties recordings by Dutch poet and writer Hans Plomp together with musicians and friends. Hans was involved in the Provo movement of the sixties and later on he squatted a village near Amsterdam with friends called Ruigoord, which still exists today. He is also an expert on psychedelics, hence his book 'Uit Je Bol' is a cult classic in The Netherlands. This tape features him reading his poems in English and Dutch. Also included is a recent scandalous interview. 100 copies.
Dwellers of Kleine Eiland
Sloow Tapes - CS 40
Psychedelic improv band from Brussels featuring Bart Sloow, angoulème oridian, Bear Bones Lay Low, Weird Dust and Bonzai Tarzan. Free your fungi mind! Handmade covers, all different. Edition of 100 copies.
"improv band from Brussels featuring Bart Sloow, angouleme oridian, Bear Bones Lay Low, Weird Dust and Bonzai Tarzan. Free your fungi mind!" -- a suggestive play on amanita fulva which is a mushroom (in the section vaginatae no less) that is one of the few edibles in the amanita genus, but don't let that wiki regurgitation fool you, DWELLERS OF KLEINE EILAND is some seriously potent stuff, drawing deep from the wells of ASH RA TEMPEL and CAN, establishing an organic mystic psychedelic sound, smoked out as all get out and nurtured on the freeform freakouts of RED KRAYOLA, riding the same vibes as HERBCRAFT, MENDOCINO and VON HIMMEL, while the track "lepista nuda" hints at a soft spot for ALICE COLTRANE's JOURNEY IN SATCHIDANANDA (i mean, who doesn't have a soft spot for that one?), while the finale "free your fungi mind" channels the VELVETS "european son" - of course none of this comes as a surprise if you're familiar with, well SLOOW TAPES in general, but in particular band members BART SLOOW and BEAR BONES LAY LOW by way of SYLVESTER ANFANG - all preconceptions are in play here on this supergroup's debut (?) that exceeds all expectations from the moment i first laid eyes on the artwork til my tape deck clicked announcing the end of side 2 (Psi Lab)
Some of my favourite-ist ever releases sound like a few friends jamming thru borrowed amps n shit while sinking some small bottles of lager or dark beer and sharing a couple Js, because, basically, that is exactly what they are. Basement Friendship. Fuck the moaning Anti-'Amateurism' // “this music lacks ambition” Brigade: this is where the real work gets done. Everything else is – as wonderful as it might sound in head and ears (; and as much of a fan I might be of SARM WEST or Steve Lipson's 80s-Prog-Pop engineering) – artifice.
Playing this tape a LOT, round n round – snap the tape back in and Replay, you old fucker – last couple days while painting Kid Kid Shirt's bedroom skirting-board (non-huff paint, btw, kiddies) – “Dad, your music sounds weird,” yells 11yr-old younger sister / My Other Daughter from out on the landing b4 retreating to autotunepoptasticgoogletabstreamzone – and, yeahr, I deeclare this css: dead good.
Screw Punk Rock: music endlessly declares its own Year Zero, day-in / day-out, and this, dear reader, is merely part of its eeeeternal basement-facing self-reinvention; a constant re-routing of The Real from the ground-up.
((man, the batteries on the tape-player just wore 'emselves out, so the music nodded'd-off in a suitably Eccojam // Vaporwave sloooowexit from its own spare-room micro-economy; well, one of the players was Bart Sloow, so should I be surprised?)).
*inserts fresh batteries*
First track, side one, starts relatively unpromisingly (to ye unbelievers, I'm sho') – just a group o'pals trying to figure out the 'rules' of today – it don't quite work (bashin' the drums and shit), but a few minutes into the jam they settle down, find each others' measure (it's how it works, see?) and the good shit sloowly unfolds. If it sounds like Silvester Angfang (Mk1) it's because / in spite of the fact that this bunch includes a coupla (funeral) folks / pals from Sylvester Anfang II. (Confused? You will be). After an initial burst of restless franticness n equipment / mettle-testing, this wiiinds down into a niiiice dirgeful waaay-post-VU methodronepsychgrooove: bootifool graveyard-bothering miserabilist minorchord nod music (with titles to match!): bloody LOVE it. There's one or two moments where the postponkghosts of PiL or Crispy Ambulance emerge for a mo or two, but it mostly echoes NY lofts 66-71 w some bongo-free euro-commune jams thrown in. A couple tracks sound ((unsurprisingly), like disk two of Yeti; or that fabulous (untitled) Siloah album (tho nothing could really sound that good – but they try...).
The real magic unfolds on Side Two. Damn you, you Flemmish, crypt- and barge-dwelling bastards: the music unpeeeeels itself like rotten wallpaper scraped away revealing a secret world behind yr own rusting wallhung radiator. It's like The Borrowers, except they all look like fucking tiny John Cales and are ripped on half-forgotten forestdrugs known only to elderly, 80something Russian mushroom-picking haags. The Mark Fishers of this world might find this sort of music emblematic of some form of passive 'defeatism' – a retreat from the World's 'real' challenges – but I think it is the exact opposite: a sloow resistance that circumnavigates the years; a secret baton that is passed across the generations with a nod, a glance and a Minor Third chord. “Don't care if you don't get it...”
Magic is made daily in bedrooms and cellars and spare rooms on borrowed drums and barely-understood guitars. Magic is made, constantly, with our hearts and thoughts and heads, through shared sounds, grins, meals and big hearts; it is skinned-up hourly on gatefold covers, glimpsed thru YouTube clips of half-forgotten German / Dutch / Danish / Welsh bands...
It doesn't matter if you don't 'get' that.
We do. (Kid Shirt)
Friday, April 17, 2015
Blood Clot In The Brain
Sloow Tapes – CS 45
More magical psychedelic jamming coming from the toverstaf of Bart sloow(Sylvester Anfang II, Innercity, Amanita Vulva). The Moe Tucker-style primitive drums, guitars and harmonium are still there in this attempt at classic rock. Recorded during the hazy days when he suffered several blood clots. Cover by Anne Collet. Edition of 80 copies.
magical psychedelic jamming coming from the toverstaf of Bart sloow, an attempt at classic rock recorded during the hazy days when he suffered several blood clots" -- some of the smokiest riff improvisation i've heard this side of early SUN ARAW and live MV & EE, informed by japanese heavy psych, ecstatic like EXPO 70 on a mission from god, givin HERBCRAFT a run for his money, zoned out harmonium drones and MASCIS meets FRIPP freak outs backed by primitive percussion channeling the VELVETS hypnotic thud, delivers a boon of acid jams and moody meditations, mega killer tape sold out at the source but looks like it is still available via FUSETRON and maybe other usual suspect distros, hesitate at your own risk (psi lab)
Sloow Tapes – CS 80
Recordings made by John Chick in Bali in 2009. Chick was one of the original members of the Bardo Matrix crew (along with Dana Young, Gregg Sharits and Craig Love) which was a psychedelic lightshow in Boulder, Colorado at first. In the early seventies he moved to Kathmandu where he started the Spirit Catcher bookstore, which sold booklets of poetry and traditional rice prints from temple rubbings. It was under this imprint Ira Cohen and Angus MacLise published their works. He also ran the first nightclub in Nepal. Later on he got busted for heroin and spent 6 years in prison in Bangkok. On these recordings he tells tales about encountering Janis Joplin, Wavy Gravy and the Magic Bus, Jim Morrison of The Doors and the Rose Mushroom Nightclub. Cover collage by Dana Young. Edition of 100 copies.
We Are All Holy
Sloow Tapes – CS 60
A rare, historical recording by Judith Malina, who started The Living Theatre together with Julian Beck back in 1947. Their plays were free from commercial considerations and limiting conventions, they taught how to be free from the state, to oppose the war in every form. One of their most famous pieces was Paradise Now, a psychedelic masterpiece play based on the Kabbala and the I Ching. This tape documents Malina’s poetry. In the words of Ira Cohen: “These are poems of a war-horse, who eschews every form of war except the battle of the soul to do better or someone who never doubted clouds would break, who never dreamed that wrong would triumph. Accompanied by Julian Beck, her presiding eagle-angel of anarchism… even in death he lights her way, still the muezzin sings, calling our hearts to prayer and to action, always to action. These are poems of the Star Tribe, and as the lady says, “Come swiftly, o sweet reconciliation!” These are poems of light and darkness and I cannot help but be reminded, “The light shines in the darkness, but the darkness comprehendeth it not.” These lines in the Bible have never been far from my thoughts from the first time I read them, and now Judith takes me to that place in myself which restores the hope that the darkness will and does indeed comprehend it, that we in our own struggle to know and to do, will also be comprehended.” Recorded by Brad Burgess and Louise Landes Levi. Cover by Christopher Felver. Edition of 100 copies.
Thursday, December 11, 2014
Louise Landes Levi
From The Ming Oracle
LP - Sloowax 004
Recording by Louise Landes Levi on traditional bowed harp or sarangi and Hilary Jeffery (who also plays with Catherine Christer Hennix) on trombone drone. Levi studied sarangi under the guidance of Annapurna Devi and Ali Akbar Khan.
Levi & Jeffery interpret the perennial tradition of Indian raga - informed by the deep dream of the 20th century & the visionary ensembles of the mid century: The Floating Lotus Magic Opera Company (Daniel Moore) & The Theatre of Eternal Music (La Monte Young & Marian Zazeela). Also an accomplished poet, the LP comes with a booklet with a selection of poems from ‘Tower 2/TARA or dc-x’, which was originally printed for the funeral rites of Simon Vinkenoog. Edition of 300 copies.
With seemingly only a couple of tapes (released years ago) to her name ever available in the aural medium (however, these older releases are available digitally); poet and experimental musician Louise Landes Levi now has this thoroughly excellent piece of vinyl to add to her discography. As if the record wasn't amazing enough, you, the wily punter, also receive a wee textured pamphlet of poetry enclosed inside; this whole brilliantly conceived package released over there, then exported over here by the ever-vigilant Belgian stable Sloow.
Alongside her friend: C. Hennix protege Hilary Jeffery, on tromb(dr)one, together they have created two epic, absorbing pieces, one a re-interpretation of Pandit Ram Narayan's 'Jogiya', which is based rather simply, yet effectively, around a stealthy and ominous sounding (undisturbed) bed of eternal low-down trombone (I must learn that circular breathing technique) with her beautifully played bowed harp weaving sleepily and evocatively alongside the omnipresent drone. I keep involuntarily closing my eyes to enhance the profound sensation. One such feeling I wish never to cease.
The other side of this esoteric chunk of wax, 'Bhairavi' is kicking out much the same "impro-vibe", the rustic and melancholic-sounding harp possibly even more tonally adventurous and edgy but overall the juxtaposition of the two instruments creates something incredibly powerful that I struggle to interpret into words as I keep on drifting off somewhere special. Both are utterly sublime pieces of music, - naturally transcendental and tremendously absorbing. There are a mere 300 of this, It's the only record I'm buying this week and I strongly advise you to do the same. (Norman Records)
Back In No Time
Reissue of a tape originally released in the Staaltape Documentatie Serie. Brion Gysin (1916-1986) dabbled with surrealism in the 1930s, lived in the Interzone of Tangier in the 1950’s, traveled the Algerian Sahara and was resident in the Beat Hotel in Paris. He introduced William Burroughs to the cut-up method and invented the Dream Machine, a hypnotic light device with the power to induce hallucinations. This tape is an interview conducted by Harry Hoogstraten in the early 1980s. In 1950s Tangier Gysin ran a mythical restaurant called The Thousand And One Nights where he presented the trance and exorcism sounds of the Master Musicians Of Joujouka. Later on he introduced Brian Jones and the Rolling Stones to the Pipes of Pan. The second tape is a live registration by the Master Musicians of Joujouka, recorded live in France. Edition of 100 copies.
Monday, August 25, 2014
Sloow Tapes – CS 40
From the deep woods of Maine comes this zoned acid folk combo spinning around the core duo of Daniel Beckman and Amy Moon and featuring members of Big Blood, Ancestral Died, Caethua among others. Stoned rural vibes extracted to their essence, essential oil for the mind and body. Edition of 100 copies.
True To Blue
Sloow Tapes – CS 50
Psychedelic blues jams by Finnish legend Keijo & co. Lost Mississippi vibes from the mysterious Finish woods. Guess there’s still some dwarfs high on reindeer piss hiding somewhere in here. Edition of 80 copies.
you coul(d) hear the snow dripping and falling into the deers mouth
Sloow Tapes – CS 30
Underground filmmaker, publisher and poet Piero Heliczer (1937-1993) was one of the seminal figures in the New York magical scene of the sixties which also included Angus Maclise, Ira Cohen, Jack Smith, The Velvet Underground etc. His poetry is rich with images of visionary inner landscape journeys with traces of medievalism, surrealism, British 17th century metaphysical poets, the beats etc. Most of his books were self-published on his own the dead language press which he founded in the late fifties. This is the only reading of Piero Heliczer we managed to track down. Edition of 100 copies.
Sloow Tapes – CS 40
Big fuzzwah jams by Sylvester Anfang II and Innercity member. Endless guitarsolo’s, primitive drums and space harmonium. Keep on keeping on. Edition of 70 copies.
Bloody love this tape from my old pal Bart Sloow. It's been a couple months or so since it dropped, but def. ain't a cold release -- if you hurry over to Sloow Tapes you could snag one o'the remaining copies. Man, I've loooved that label, since Forever. Next up from Bart, a tape of blood clot themed jams for the Fort Evil Fruit label.
Bart played all the parts (sorry, accidental rhymin') - guitar, harmonium, drums -- apart from some accordion action by Anne Collet, it's all him, direct-multidubbed onto the legendary Sylvester Anfang four-track tape-recorder. And I don't know what those guys use for head-cleaners, but it's definitely rubbed off onto each tape that's passed thru that mythic, hard-workin' machine from the Funeral Folk days onwards - call it Flemish toverstof magic-dust or what you like, but this tape has it in spades: that fine, fine fuzzjam stoner eaaase, sloo(w) minimal Mo Tucker style garage-beat drums, endless multi-tracked gtr-solo roil... this ain't blow-out music; everything's hazy, smeared in purple mystic huff n puff, black-light magic-carpet felt-tip mandala mazezone -- if all flows onwards from jam to jam, but there's nothing generic about it either; zone out, then zone back in - each track has its own spicy pentatonic-y flavour and a special place in the endless 4D spacetime wall of wah-wah...
"Can you dig it?" (Kid Shirt)