JAB
‘Erg Herbe’ (SP105)

JAB ERG HERBE SHELTER PRESS

JAB ERG HERBE SHELTER PRESS

JAB ERG HERBE SHELTER PRESS

JAB
Erg Herbe

7 tracks
format: LP / Digital
length: 43:41 min
cat#: SP105
release date: Mar. 7th, 2019

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Tracklist
01. Planner’s Beauty (03:22)
02. A Little Breeze (06:18)
03. Jacob’s House (04:34)
04. Menu Music For Video Game (06:50)
05. Distant Patterns (12:06)
06. Chanterai por mon coraige (06:44)
07. Erg Herbe (03:46)

Last year John Also Bennett appeared on three collaborative full length releases – the CV & JAB album Thoughts Of A Dot As It Travels A Surface for Shelter Press in February, a fourth Forma album Semblance for Kranky in July and Outside The Disc, a new album for his Seabat project with Forest Christenson in October. He also appeared on Christina Vantzou’s solo album No. 4 (Kranky) in April. Whilst work continues on these long running collaborations (as well as other projects with artists such as noted Minimalist composer / performer Jon Gibson), 2019 will start for John with his first full-length solo release – Erg Herbe.

JAB says the record was gestated for nearly a decade while he worked out how to fully express his own sound and ideas. He notes that “My personality is all over this music”, elaborating that “the goal is to create nice, strange, and thoughtful music that reflects a genuine inner vision of self. I’ve been recording solo music for a long time without releasing any of it because I’m not able to let anything out that doesn’t satisfy this criteria.” Finally, Erg Herbe began to emerge during 2017 and 2018, recorded alone during spare moments between collaborative projects. JAB uses a mixture of synthetic and organic instruments throughout the album, including modified Aphex Twin DX7 presets played using a just intonation tuning system, eurorack oscillators “tuned according to intuitive structures using intervals of 30 hz,” and a number of flutes including a Chinese “dizi” flute borrowed from his father, noted avant-garde poet and mail-artist John M. Bennett (a contemporary of New York underground poets Richard Kostelanetz and Steve Dalachinsky). Through this unique mixture JAB creates a record which moves outside the conventional. Part New York minimalism, part ambient, part classic electronic yet uniquely JAB.

Primarily recorded at The Schoolhouse, the Brooklyn loft where he lives and works (that will also serve as the site of a launch event for the album this spring), Erg Herbe taps into the rich history of New York loft music, recalling downtown artists like La Monte Young, Phill Niblock and Laurie Spiegel. He also cites Takehisa Kosugi, Dominique Lawalrée, Jon Gibson (who JAB toured with in 2017 & 2018) and Pauline Anna Strom as important influences – “Their music seems to express their personalities so well, at least my perceptions of them. And those personalities are relaxed, inquisitive, friendly and unique – how I strive to be.” If you add his list of inspirations and his past projects, as well as his time spent working behind the scenes with noted NYC imprint RVNG Intl., then it becomes clear how much JAB is working within a very distinctly New York tradition of experimental, classical and electronic music. His various projects with filmmakers and installation artists like Peter Burr also add to this vivid impression of a New York artist out and about, working on many levels at once. The sound of Erg Herbe reflects this cross fertilization of artistic activity.

Beyond the cuts recorded in Brooklyn there’s also “Chanterai por mon coraige” derived from the 13th century French troubadour song by Guiot de Dijon, on which two flute improvisations upon a theme were recorded blind from each other and then combined afterwards, producing some exciting, unexpected harmonies. Appropriately “Chanterai por mon coraige” was recorded inside a decrepit mill in the French countryside at night – not far from where Shelter Press is headquartered. The title cut “Erg Herbe” features flute recorded inside Tilapia, a reverberant sculpture by Katsuhito Nishikawa at the Museum Insel Hombroich in Germany, which was then processed and overlaid with synthesizer in New York.

“Erg Herbe” in an invented turn of phrase – erg being the term for a sea of desert sand dunes, and herbe being French for grass – summoning the dreamlike image of a green, rolling dunescape. A fitting title for an album that combines worlds: minimal and lush, serious and playful, real and imagined. “Distant Patterns” – the longest track on the album at over twelve minutes – juxtaposes dry, pulsating oscillators with pillowy, occasionally dissonant pads, while a raga-like alto flute melody glides and dances over top, like a bird soaring across a landscape. Dreaming of distant places while absorbing what’s around him, and traveling the world while keeping one foot in New York, JAB has finally conjured up the unique, surreal sound world he has been looking for.

Erg Herbe features original artwork by Zin Taylor, who JAB collaborated with previously on Thoughts Of A Dot As It Travels A Surface and is mastered by Rashad Becker at D+M. Pressed on 140gr vinyl with printed artwork on inner and outer reverse-board jacket.
Out March 7th, 2019 on Shelter Press.

John Also Bennett
C flute, Alto flute, dizi flute, oscillators, Yamaha DX7II-D, Yamaha CS Reface, Roland Super JV-1080, Farfisa organ. Recorded at The Schoolhouse, New York, USA, except “Chanterai por mon coraige” recorded in Ponce-sur-le-Loir, France at Les Moulins de Paillard and “Erg Herbe”, which was partially recorded inside Tilapia, a sculpture by Katsuhito Nishikawa at Museum Insel Hombroich, Germany. “Chanterai por mon coraige” is derived from the 13th Century troubadour song by Guiot de Dijon of the same name.

Recorded and mixed by JAB at The Schoolhouse, New York, USA
Mastered and cut by Rashad Becker at D+M, Berlin
Artwork by Zin Taylor
Back Cover Photo by Julie Calbert
Design by Bartolomé Sanson



Eli Keszler
‘Empire’ (SP107)

ELI KESZLER
EMPIRE

3 tracks
format: digital EP
length: 14:32 min
cat#: SP107
release date: Feb. 14th, 2019

Tracklist
1. Enter the Bristle Strum (05:26)
2. Corrosion Kingdom (04:25)
3. The Tenth Part of a Featured World (04:52)

Following the release of his album Stadium, out on Shelter Press last October, Eli Keszler returns with a brand new EP, Empire. Recorded between September and December 2018, this three-track EP is about finding stillness, tranquility and beauty in a dystopian landscape. In some ways, it continues the concepts explored on Stadium since it’s also an EP inspired by cityscapes, architecture and, as Eli himself notes, “the illusion of order during declines.”

Eli started touring for Stadium at the start of October 2019 with a performance at legendary New York venue, The Kitchen, the day before he orchestrated a five-camera shoot — check out this remarkable concert-length film: [https://www.youtube.com/watch?v=xNLdBYvpiJk].

Eli will continue to tour starting this month with three solo performances as part of Kevin Beasley’s exhibition “A View of the Landscape” commissioned by The Whitney Museum in New York on Saturday January 26th at 6pm, 7pm and 8pm.

He’ll also be performing live at Mutek, Phi Center, Montreal on February 23rd, Fort Worth Modern Art Museum on February 28th (in duo with Nate Boyce), Gnration, Braga, Portugal on March 29th and Rewire Festival, Den Hague on March 30th. You can also catch him performing in Oneohtrix Point Never’s band at Pitchfork Midwinter 2019, Chicago on February 17th and Myriad, The Roundhouse, London on March 8th. And, he’ll be teaching at CAMP in the Pyrenees in April.

For those new to Eli, his sound lies at the intersection of jazz, improvisation, fusion, modern classical and electronics. Although the music press has often tried to identify his work in terms of specific genres, he remains boldly on his own musical and aesthetic path.

Stadium received record of the year from Boomkat and placed in countless end of year lists. Since copies of Stadium are sold out, a repress of the album will be released the same day as Empire on February 14th.

Instruments
drums, percussion, vibracelesta, vibraphone, amarelion, violaskapa, organ, rhodes

Recording credits
Recorded by Nolan Thies
Mixed by Eli Keszler and Nolan Thies
Post production audio: Gabriel Schuman
Mastering: Stephan Mathieu
Produced by Eli Keszler
Recorded September 2018 – January 2019
Cover photo Eli Keszler
Copyright REL001 Publishing



KTL
‘The Pyre: versions distilled to stereo’
(SP089)

KTL shelter press stephen o'mallley peter rehberg gisele vienne

KTL ‘The Pyre: versions distilled to stereo’

Extract

Technical

LP
First pressing : 700 copies
Printed artwork on innersleeve with matt varnish and outer sleeve with UV varnish.

First pressing
✓ 700 copies on clear green vinyl

Credits

Music by KTL (Stephen O’Malley & Peter Rehberg)
Mastering: Matt Colton at Alchemy
Artworks: Estelle Hanania
Design: Bartolomé Sanson

Tracklist

1. Escalade
2. MadHIT
3. Glass X
4. HIT
5. SuperMellow

About

On November 22nd French music, art and publishing imprint Shelter Press will release another chapter of its on-going documentation of the work of Gisèle Vienne

‘The Pyre: versions distilled to stereo’ is the score composed and recorded by KTL (Stephen O’Malley & Peter Rehberg) for the dance piece ‘The Pyre’, written and directed by Gisèle Vienne.

The music created by KTL (Peter Rehberg and Stephen O’Malley) incorporates invisible and absent elements – ghosts, one might say. It proceeds from simulated diegetic sounds (which are part of the action) interwoven with real sounds – a musical creation that makes up an extra-diegetic sound score. This composition dizzyingly sculpts the space on stage and generates an impression of great spatial depth, which activates light-sculptures that in turn evoke the illusion of a tunnel, whose depth also results in a play of reflections.

Through these different media, the aim is to develop and shatter – without looking to resolve – the exceptional intensity that can arise from the dialectical tension between presence and absence, as well as from the characters that are seeking flight.

The music, originally performed on a multichannel spatialisized soundsystem has been distilled to this stereo version for home use, halfspeed mastered and cut by Matt Colton.

This record announces – and is one chapter – in the forthcoming release of the first monograph dedicated to the work of French choreographer Gisèle Vienne and documented by French photographer Estelle Hanania. This book – is one of Shelter Press’ most ambitious to date – catalog number 100 – will be released in Spring 2019.

First edition of 700 copies on clear green wax. Printed artwork on innersleeve with matt varnish and outersleeve with aqueous UV finish. DL card included.

For more informations about The Pyre and its complete credits:
www.g-v.fr/en/shows/the-pyre/

Félicia Atkinson / Jefre Cantu-Ledesma
‘Limpid As The Solitudes’
(SP101)

Eli Keszler Stadium Shelter Press

Félicia Atkinson / Jefre Cantu-Ledesma ‘Limpid As The Solitudes’

Extract

Technical

LP
Total pressing : 700 copies
Printed artwork on sleeve and innersleeve with high gloss lamination finish.

First pressing

✗ 300 copies on clear mint vinyl

✔︎ 700 copies on black vinyl

Credits

Music by Félicia Atkinson / Jefre Cantu-Ledesma
Mastering: Helmut Erler at D+M
Artworks: Julien Carreyn
Design: Bartolomé Sanson

Tracklist

1. AND THE FLOWERS HAVE TIME FOR ME
2. HER EYELIDS SAY
3. INDEFATIGABLE PURPLE
4. ALL NIGHT I CARPENTER

About

When is one plus one not two? When two paths converge and a new one appears. But what is this newly activated neural pathway? A Third Mind? In the 1960s, multimedia artist Brion Gysin cut through the words of a newspaper and rearranged them to reveal a new kind of truth contained within the words but not freed until his knife cut it loose. He described this as part of the Third Mind. Likewise, «Limpid As The Solitudes» cuts through sound-making techniques to enter a new zone of sonic revelations.

If you had to look for musical precedents, you might say the record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young’s raga-inspired microtonal electronic «dream house» drones, a sense of adventure evident in the acousmatic non-space recordings made by GRM artists in the 1960s/ 1970s, 4AD’s floor gazing guitar sound circa Cocteau Twins peak, and blissfully diverse field recordings. But you could equally equate it with entirely different recording sources. «Limpid As The Solitudes» has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory. It’s a record composed of opposites and contrasts. Following historical guidelines yet also throwing them out of the window. It’s hard to tell if the process of creating it was more akin to abstract painting but it might possibly be easier to understand if it was a large museum painting (to steal a thought from David Stubbs). To describe the album as ambient would indicate a much too passive engagement with the sound – leave it to play in the background and you’ll miss a lot of the joy.

Felicia Atkinson and Jefre Cantu-Ledesma describe the record as a series of postcards – «things and sounds that happen vertically as a slow ascension, vessels communicating in dreams.» In this collaborative recording, there is a feeling of «becoming» – things metamorphose – a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls / unfurls at the same time.

The title of the album – «Limpid As The Solitudes» – as well as track titles, are all verses stolen from Sylvia Plath’s poems – Atkinson notes «like dropped pearls from a lost collar.» Trying further to capture the records poetic impulses she notes it’s reflects «Empathy to objects and nature’s elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape.» But notes with a sharpness that «the finale is more optimistic than Plath’s poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies.»

If you look at the cover, you’ll find another key clue – you’ll see an image created by photographer Julien Carreyn of a young women wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990’s feeling that echoes the recording. They note – «think films such as by «Trust» (Hal Hartley, 1990) or «Chuncking Express» (Wong Kar Wai, 1994).» They add «it’s the «ultra modern solitude» of characters lost in an early-digital urban vacuum, looking for a more time to wonder, a soul mate or just some compassion in the grey sky.»

Among the many other references for this album is how Google Maps have created new digital perceptions of space, Gilles Deleuze’s examination of Alice In Wonderland, Andre Bretons poems and more films including the classics «Sacrifice» (Tarkovsky), «Passenger» (Antonioni) and «Last Year In Marienbad» (Resnais). To dig into the more of the ideas and sources behind this record you’ll simply have to talk to the duo. We simply cannot give you the full depth here.
Be sure to come back to this record more than once – it’s then that it’s power will work – you’ll recall the sound of a lover, a garden you once walked through, an echo of a record you once loved. To be appreciated, «Limpid As The Solitudes» requires you to immerse yourself as if in a hot spring, letting the sounds float over you and alter your perceptions and memories.

Mastered and cut by Helmut Erler at D+M, Vinyl Edition housed in printed inner and outer jacket, with high-gloss lamination finish. Art by Julien Carreyn. Out on November 9, 2018.

Eli Keszler
‘Stadium’
(SP099)

Eli Keszler Stadium Shelter Press
Eli Keszler Stadium Shelter Press

Eli Keszler ‘Stadium’

Extract

Technical

— 2XLP
Total pressing : 1000 copies
Printed artwork on uncoated sleeve and innersleeve.

First pressing
200 copies on crystal clear vinyls (out of stock)
600 copies on black vinyls

— CD
Glassmastered CD in silkscreened jewelcase.
1000 copies.

Credits

Music by Eli Keszler
Engineered By Nolan Thies
Mixed By Eli Keszler And Nolan Thies
Mastering: Rashad Becker at D+M
Produced By Eli Keszler
Post-Production Audio: Gabe Schumann
Cover Photo: Laura Kenner
Drawings: Eli Keszler
Design: Bartolomé Sanson

© REL001 PUBLISHING

Tracklist

1. Measurement Doesn’t Change The System At All
2. Lotus Awnings
3. We Live In Pathetic Temporal Urgency
4. Flying Floor For U.S. Airways
5. Simple Act Of Inverting The Episode
6. Which Swarms Around It
7. Fifty Four To Madrid
8. French Lick
9. Was The Singing Bellowing
10. The Driver Stops
11. Fashion Of Echo
12. Bell Underpinnings

Distribution

BOOMKAT (UK/EU/ROW)
FORCED EXPOSURE (USA)

About

New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work «Northern Stair Projection.» “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

Mastered and cut by Rashad Becker at D+M, Vinyl Edition housed in reverse board-printed inners and double-width spine jacket. Glassmastered CD in silkscreened jewelcase. Out on October 12, 2018.

Eli Keszler — Stadium (Live at The Kitchen – Oct. 2, 2018)

Thomas Ankersmit
‘Homage to Dick Raaijmakers’ (SP096)

THOMAS ANKERSMIT 'Homage To Dick Raaijmakers' Shelter Press SP096 Bartolomé Sanson Felicia Atkinson

Thomas Ankersmit ‘Homage to Dick Raaijmakers’

Extract

Technical

LP
45 rpm / 140grm vinyl
Record housed in reverse-board printed outer and innersleeve.
Include download code
First pressing of 700 copies
2018

CD
Glassmastered CD in matt varnish digipack.
Edition of 1000 copies
2018

Credits

Music: Thomas Ankersmit
Design: Bartolomé Sanson
Mastering: Rashad Becker at D+M
Photograph on outer sleeve: © PCA / Institute of Sonology
Photograph on inner sleeve: © Raaijmakers collection, NMI

Tracklist LP

A. Homage to Dick Raaijmakers (part 1) / 15:00
B. Homage to Dick Raaijmakers (part 2) / 20:19

Tracklist CD & Digital

1. Homage to Dick Raaijmakers / 35:19

Order / Wholesale

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Distribution via :
BOOMKAT (UK/EU/ROW)
FORCED EXPOSURE (USA)

About

Thomas Ankersmit’s new album for Shelter Press “Homage to Dick Raaijmakers” is an all-analogue electronic music composition inspired by legendary Dutch composer / electronic and tape music pioneer / multimedia artist Dick Raaijmakers (1930-2013). The work takes inspiration from Raaijmakers’ music from the 1960s, his texts on sound composition like “Cahier M”, and notes on his own music. On this recording Ankersmit plays Serge Modular feedback and sine/pulse/random generators, contact mic, and tape speed variation

Mirroring some of Raaijmakers’ work, Ankersmit plays his Serge synthesizer as a kind of weather system. He references storms, thunder, crashing and falling objects, and distant radio transmissions in his electronic sounds, as well as dragging a contact mic across his equipment. Despite the abstract nature of the material, a sense of loss or mourning sometimes emerges from the music.

With his homage Ankersmit re-contextualizes Raaijmakers’ ideas about electric sound, composition, and spatial experience. Like Raaijmakers himself Ankersmit exclusively uses analogue devices, such as sine/pulse/random generators, modulators, filters, and especially feedback processes between them.

The music focuses on the sounds of raw electricity through creatively abused electronics, composing with analogue micro-sounds, and the creation of three-dimensional sound fields.

The piece also uses tones produced by the listener’s own ears, inspired by Raaijmakers’ thoughts on “holophonic” sound fields to be individually explored by the listener. With this phenomenon, the listener’s inner ears actively generate sounds that don’t exist in the recorded signal, and which can change with a small movement of the head.

“Homage to Dick Raaijmakers” was commissioned by Sonic Acts and was premiered live at the Stedelijk Museum in Amsterdam in February 2016. Ankersmit also dedicates the work to his father Thijl Ankersmit (1947-2016), who first demonstrated feedback to him. .

Mastered and cut by Rashad Becker and pressed on 140g vinyl housed in reverse-board outer and inner sleeve. Out in September 2018 on Shelter Press on LP / CD / DL.

Meyers
‘Struggle Artist’ (SP093)

Meyers ‘Struggle Artist’

Extract

Technical

2018
14 tracks
38:00 min

LP
33 rpm / 140grm vinyl
Record housed in metalic bronze printed outer and innersleeve.

First pressing of 500 copies

Credits

Music: Justin Meyers
Artwork: Justin Meyers
Design: Bartolomé Sanson
Mastering: Rashad Becker at D+M

Tracklist

A1 Ambient Role Play
A2 Draw Distance
A3 Balloon Étude
A4 NPC Loop 1
A5 Self Portrait
A6 Limit Break
A7 Ambient Role Play (End)

B1 Granular Opportunities 1
B2 Granular Opportunities 2
B3 Expectations 1
B4 Expectations 2
B5 NPC Loop 2
B6 Noise Artist Cosplay
B7 Struggle Artist

Order / Wholesale

BUY LP            BUY DIGITAL

Distribution via :
BOOMKAT (UK/EU/ROW)
FORCED EXPOSURE (USA)

About

Struggle Artist is the new album from Justin C. Meyers, the Minneapolis-based composer, artist, and head of the Sympathy Ltd. label.
Meyers is a unique, underappreciated talent in contemporary electronic music. His greatest strengths are twofold: his compositions have a meticulous structural logic, revealing a hermetic and austere formalism; concurrently, his compositions have a deep, introspective narrativity grounded in his lived experience, evoked with a mature clarity. Together, they make Meyers one of the most interesting electronic musicians working with cutting-edge sonics today, unlocking their latent powers of metaphor and figuration. His previous album, 2016’s Negative Space (1981–2014), deals with the onset of chronic illness and near-death experience. Its careful, anechoic meditations on the failing body are a resounding achievement, and the album remains a high watermark of acousmatic music in the 21st century.

Struggle Artist portrays Meyers’ expectations and disappointments arising from making art in his free time. Created initially during lunch breaks and in hospital waiting rooms, and finished after being laid off from his job, it catalogues the despondency of the precarious life. If Negative Space was about the fallible body, Struggle Artist is its violent collision with late capitalism.

Meyers’ formal language employs the barest of ingredients: scintillating digital synthesis, evacuated field recordings, impossibly crisp transients and an elegiac harmonic sensibility. On Struggle Artist, he sets up scenarios that anticipate some musical event or flourish, only to renege on them with stark about-faces or resolutions into dissonance. These rhetorical figures reproduce the difficulty of maintaining artistic integrity and motivation while working a day job and dealing with chronic illness. Tracks like “Self Portrait” evoke the trauma of reconfiguring and rewriting one’s own identity to (unsuccessfully) appease indifferent funding sources like grants and fellowships, which Meyers wryly calls “Granular Opportunities.” Stability is not conceded until the stunning eponymous final sequence, that ambiguously signals either the willed discontinuation or reaffirmation of Meyers’ musical career.

The impression is not entirely bleak. Meyers’ sound design is buoyant and luxurious with its clean edges and lush tonalities, such as in “Draw Distance” or the “Expectations” diptych. This is Meyers’ most playful record, albeit always gesturing towards its melancholic narrative. This guarded, dark humour is alluded to in his sleeve art and track titles.

In an environment where most record releases don’t break even and the artist usually shoulders the financial burden, Struggle Artist explores what the psychological burdens are. It laments the incompatibility of neoliberalism and non-commercial artistic practice, increasingly accessible only to the inherited rich. For the rest of us, second jobs are the only option, which in theory liberates us from the pressure to commoditise our art, but in reality leaves us exhausted and broken. Struggle Artist is a refreshingly honest and transfixing metanarrative on how we interiorise the conditions of making art.

Mastered and cut by Rashad Becker at D+M 140g record housed in metalic bronze printed outer and innersleeve.

CV & JAB — Zin Taylor
‘Thoughts Of A Dot As It Travels A Surface’ (SP092)

CV & JAB — ZIN TAYLOR 'Thoughts of a Dot as it Travels a Surface' (SP092)
CV & JAB — ZIN TAYLOR 'Thoughts of a Dot as it Travels a Surface' (SP092)
CV & JAB — ZIN TAYLOR 'Thoughts of a Dot as it Travels a Surface' (SP092)

CV & JAB — ZIN TAYLOR ‘Thoughts Of A Dot As It Travels A Surface’

Extract

Technical

2018
10 tracks
43:00 min

LP
33 rpm / 140grm vinyl
Clear purple vinyl housed in reverse board-printed inner and
double-width spine jacket. Comes with a 180cm leporello
reproducing the original 9000cm wall drawing.

First pressing of 1000 copies on clear purple vinyl (available)

Credits

All music arranged and performed by CV & JAB
Synthesizers and Virtual Instruments: Christina Vantzou
Synthesizers, Piano, and Flute: John Also Bennett

Drawings and Graphic Score by Zin Taylor

Commissioner: Kristina Scepanski
Recorded live at Westfälischer Kunstverein
(Münster, Germany, May 6th, 2017)
Live Sound Engineer: Robin Völkert
Photography: Kai Eric Schwichtenberg

Mixed by John Also Bennett
Mastered by Rashad Becker at D+M
Artwork and design by Zin Taylor and Bartolomé Sanson

Tracklist

A1. Cactus with Vent
A2. Hot Tub
A3. Large Suess Plant
A4. Tombstones
A5. Brick with Modern Form (B. Hepworth)

B1. Alfred Hitchcock Haze
B2. Rock House with Door
B3. String of Objects with Planter
B4. Nub with Three Wraps of Fabric
B5. Fingers of Thought

Order / Wholesale

BUY VINYL            BUY DIGITAL

Distribution via :
BOOMKAT (UK/EU/ROW)
FORCED EXPOSURE (USA)

About

Thoughts of a Dot as it Travels a Surface is the title of an album derived from a series of wall drawings begun in 2014 by multi-disciplinary Paris-based artist Zin Taylor. Drawn in simple black-and-white, the large-scale pieces depict linear landscapes populated with rough-hewn objects: potted cacti, sculptural boulders, steaming stone baths. Taylor describes the project as “a psychological backdrop,” utilizing the reductive yet narrative techniques of caricature and illustration to achieve an abbreviated, associative form of visual storytelling. Or in his words: “Think of it as haze collecting along the surface of the wall.”

Upon completion of a particularly ambitious 90-meter panoramic wall drawing, experimental composers Christina Vantzou and John Also Bennett were invited to interpret the work as a musical graphic score. The result was a forty minute live performance in two parts, which was multi-track recorded and then mixed down into a 10-track album. Each piece and title corresponds to a specific section or object in the wall drawing. Vantzou, though based in Brussels, is best known for a string of enigmatic solo recordings for the American ambient imprint Kranky, while Bennett has explored electronic sound design in a variety of capacities, including as one third of Brooklyn synthesizer outfit Forma. Working under their initials – CV & JAB – they attempted to translate Taylor’s elusive gestural lexicon into sound. The results are appropriately minimal, malleable, and mysterious.

Opener “Cactus With Vent” sets the tone: insectoid murmurings and fractured crystalline tones seesaw in and out of focus, eventually disappearing within a wash of churning water. Each composition flows unbroken into the next, much like Taylor’s continuous line, emphasizing fluidity, curvature, and connectivity. “Hot Tub” introduces a mesmerizing synthetic flute-like raga, pirouetting above muted jungle noises and a babbling brook. Subsequent songs skew softer and stranger, alternately meditative (“Large Suess Plant”) and miasmic (“Tombstones”), remote vistas mapped with hieroglyphic frequencies.

The recordings, like Taylor’s nuanced mini-murals, exude a subtle but restless energy, rarely lingering too long in a fixed formation. The whooshing astral synthesizer of “Alfred Hitchcock Haze” dissolves invisibly into the smeared, somber séance of “Rock House With Door,” which in turn evaporates amongst the menagerie of chattering printers, running water, and shepherd tone whispers of “String of Objects With Planter.”

More so than in past projects, here Vantzou and Bennett mask their presence, allowing textures and tonalities to tangle or unspool with minimal intrusion. The effect is naturalistic, impersonal, and intriguing. Even the few passages of relatively emotive classical piano (“Brick With Modern Form,” “Fingers Of Thought”) are played with an air of otherworldly detachment, as though such beauty was materializing purely of its own accord.

Recorded Live at Westfälischer Kunstverein in Münster, Germany May 6th, 2017. Mastered and cut by Rashad Becker at D+M. Clear purple vinyl housed in reverse board-printed inners and double-width spine jacket. Comes with a 180CM. leporello reproducing the original 9000CM. walldrawing. First edition of 700 copies worldwide.

About the artists

Zin Taylor (Calgary, Canada, 1978) lives and works in Paris, France.

Christina Vantzou is a Missouri native of Greek descent who resides in Brussels, Belgium. She has explored sound for over a decade and also conducts ongoing visual research, mostly in animation, film, and highspeed photography. Her musical releases are largely associated with the American label Kranky and her performances are characterized by a loosening of time.

John Also Bennett is an American musician, composer, and sound designer who primarily utilizes synthesis alongside acoustic instruments including flute and piano. In addition to composing and performing under his own name he is a member of the trio Forma and the duo Seabat, and is active with various other collaborative projects.

Darren Almond
‘All Things Pass’ (SP082)

SimulationSP082-1

Darren Almond ‘All Things Pass’

Extracts

Technical

1 tracks
30:46 min
LP + Booklet
2017
Limited first edition of 500 copies
No repress / No digital

Release date: December 5th, 2017

Credits

Musicians:
Fateh Ali
Ghulam Gouse
Roop Singh
Zakir Hussain

Concept: Darren Almond
Recording: Darren Almond
Arrangement: Darren Almond
All images: Darren Almond
Text: Christophe Gallois
Design: Studio Fernando Gutiérrez

Tracklist

A. All Things Pass (part 1) (13:36)
B. All Things Pass (part 2) (17:10)

Order / Wholesale

— Direct order from our STORE
— Distribution via BOOMKAT
— Distribution via FORCED EXPOSURE

About

Darren Almond’s record All Things Pass, coproduced by Mudam, Luxembourg’s contemporary art museum, and the French publishing house Shelter Press, highlights the musical dimension of the artist’s eponymous video installation, shot in 2012 in Rajasthan.

All Things Pass, presented at Mudam within the framework of the exhibition Darren Almond, Timescape (11.02. – 14.05.2017), has for central subject the Chand Baori, a stepwell built in the 9th century in Rajasthan. A meditation on the transient and cyclic nature of all things, this work is based on the combining of several sequences filmed at different times of the day and night, during rainy and sunny seasons, and on the occasion of an annual festival. It reflects the synchronicities which tie together celestial phenomena and terrestrial events, the links that exist between the different time scales, thus echoing the position that these notions hold in the conception of time in India.

The four musical sequences, presented here in an autonomous way, activate the correspondences that exist between the cycles that regulate cosmic and human existence on different registers, visually and musically. As part of both the tradition of music in Northern India and an experimental approach, the musical response of the four musicians, the passages they perform between different rãgas, the rhythmic and melodic motifs they deploy in time, the contrasts and changes in rhythm with which they mark their improvisations, embody the temporal dimension, as well as the specific setup Almond employed during recording. Equipped with a shotgun microphone, he came close to the instruments, carrying out the aural equivalent of zooms and close-ups, which are reminiscent of the fragmentary way he visually approached the Chand Baori. There is sometimes fulgurant telescoping between microcosm and macrocosm, between the details of sounds and their links with the universe.

The record is accompanied by a booklet which brings together an unpublished text written by the curator of the exhibition Timescape, Christophe Gallois, and images illustrating the work. The design was realised by the London based Studio Fernando Gutiérrez in order to create a unique artist object.

Editions

All Things Pass
→ 225 copies for sale as a standalone record
✗ SOLD OUT

Reversed board printed gatefold and innersleeve, with one LP pressed on clear wax and a 16 pages full color sewn-bound booklet. The record All Things Pass, accompanied by a booklet, focuses exclusively on Almond’s work All Things Pass, a video installation combining several temporalities whose central subject is Chand Baori, a ninth century stepwell located in Rajasthan. The composition, produced by a group of four Indian musicians, reveals close relations between the images and the very notion of rãga, at the heart of Indian music.

All Things Pass + Timescape (exhibition catalog)
→ 75 copies for sale as a bundle with the book
✓ AVAILABLE

The record All Things Pass is also available as a bundle with the book Timescape, published by MUDAM. 31 x 31 perfect-bound book with dust jacket, 4C + 1 silver PMS printing with tipped-on photographs
The publication Timescape presents an interview between Darren Almond and Christophe Gallois as well as exhibition views, showing the singularity of each artwork and, most of all, highlighting the artist’s recent series Timescape, abstract paintings inspired by representations of the cosmos.



Tomoko Sauvage
‘Musique Hydromantique’ (SP087)

SP087 Tomoko Sauvage Shelter Press Musique Hydromantique Bartolome Sanson

Tomoko Sauvage ‘Musique Hydromantique’

Extract

Technical

2017
3 tracks
40:00 min

LP
33 rpm / 140grm vinyl, artwork printed on reversed-board sleeve and innersleeve.

First pressing of 200 copies on clear (sold out)
First pressing of 300 copies on black (sold out)
Second pressing of 500 on black (available)

CD
Edition of 1000 copies in digipack (available)

Credits

All music by Tomoko Sauvage
Mastered and cut by Rashad Becker at D+M in Berlin
Design by Bartolomé Sanson

Cover photo – Jens Ziehe
(Temporäre Galerie in der Quartiershalle Campus Rütli – CR²)
Profile photo – Sébastien Grisey

Tracklist LP

A1 Clepsydra (10:49)
A2 Fortune Biscuit (08:37)
B1 Calligraphy (20:34)

Tracklist CD

1. Clepsydra (10:49)
2. Fortune Biscuit (08:37)
3. Calligraphy (20:34)

Order / Wholesale

— Order from our STORE

— Digital via BANDCAMP

— Distribution via :
BOOMKAT (UK/EU/ROW)
FORCED EXPOSURE (USA)

Tomoko Sauvage Shelter Press

About

Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls – the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (released on and/OAR in 2009) was studio-recorded /composed work, Musique Hydromantique is about experimentation and improvisation with the environment – acoustics affected by the architecture, temperature, humidity and the human presence.

For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession for the musician – an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control and interaction with the acoustic space.

Calligraphy was recorded in a genuine echo chamber, with about 10 second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. Fortune Biscuit is about the singing bubbles emitted from the pieces of ‘biscuit’ (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound : insect and animal voices in a forest, motors, crying babies changing pitches and rhythms while absorbing the water… Clepsydra (meaning water clock) features Sauvage’s classical technique, a random percussion with dripping water. She tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities.

Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument, leading to a path to experiencing timelessness.

Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. Through primordial materials and ritualistic yet playful gestures, Musique Hydromantique questions contemporary divination.

All the tracks are live-recorded without electronic effects or editing. They were recorded during the night or very early in the morning and the whole album is to be listened to during that period of a day.

LP edition of 500 copies with reverse board-printed inner and outer sleeve. Digipack CD edition of 1000 copies. Mastered by Rashad Becker at Dubplates and Mastering.

About the artist

Tomoko Sauvage, Japanese musician and artist active since mid 2000’s, investigates the sculpturality of sound and improvisation in relation to the environment. Mainly known for a musical / visual research about ‘natural synthesizer’ of her invention, composed with diverse fluid, bowls, ceramic, light and underwater amplification, Sauvage’s approach is attached to questions of alchemy, meditation and balance between hazard and mastery.

Born in Yokohama, Japan, Sauvage moved to Paris in 2003 after studying jazz piano in New York. Through listening to Alice Coltrane and Terry Riley, she became interested in Indian music and studied improvisation of Hindustani music. In 2006, she attended a concert of Aanayampatti Ganesan, a virtuoso of Jalatharangam – the traditional Carnatic music instrument with water-filled porcelain bowls. Fascinated by the simplicity of its device and sonority, Sauvage immediately started to hit China bowls with chopsticks in her kitchen. Soon her desire of immersing herself in the water engendered the idea of using an underwater microphone and led to the birth of the electro-aquatic instrument.

Under the form of performances, installations and musical compositions, her work is regularly presented in Europe, Asia and America. She has performed and exhibited at international festivals, institutions and galleries such as Roskilde Festival (Denmark), Flow Festival (Finland), Centre Pompidou Metz (France), Musée Quai Branly (France), Présences Electronique (France), Borderline Festival (Greece), Borealis Contemprary Music Festival (Norway), Museo Tamayo (Mexico), High Zero Festival (USA), Festival send+receive (Canada), Empty Gallery (Hong Kong), TÖNE festival (UK) and Grimmuseum (Germany). She has also been deeply connected to DIY art/ music scene and is more and more interested in educational projects. In 2016, her visual music project ‘Green Music’ started in collaboration with Francesco Cavaliere.

Reviews, Interviews (selection)

— The Wire (full stream)

— France Musique (radio)
— BBC 3 (radio)

— The Vinyl Factory (announcement)
The Attic (announcement)
— Tiny Mix Tapes (announcement)

— Japan Times (interview)
— Japan Sound Portrait (interview)
— 11plus3 / Digital In Berlin (interview)
— White Lies (interview)
Electronic Explorations (interview + mix)

The Wire (review)
Brainwashed (review)
— Tiny Mix Tapes (review)
— Boomkat (review)
— Attn Magazine (review)
— 初夏レゲ (review)
— Loop (review)
— Fluid Radio (review)
Dommune (review)

Gabriel Saloman
‘Movement Building’ (SP086)

Gabriel Saloman Movement Building Shelter Press

Gabriel Saloman ‘Movement Building’ (2xCD)

Extracts

Technical

14 tracks

02:00:54 min
2xCD
2017
first edition of 500 copies
Digipack

Credits

All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist

CD1

1. The Disciplined Body
2. Contained Battle/Ascend
3. Ear Piercer
4. Mountain Music
5. Gagaku
6. My Funny Valentine

CD2
1. What Belongs To Time
2. What Belongs To Bass
3. What Belongs To You
4. What Belongs To Love
5. What Belongs To the Fire
6. What Belongs To the March
7. What Belongs To the Line
8. What Belongs To Sleep

Order / Wholesale

— Direct order from our STORE
— EU distribution via BOOMKAT
— US distribution via FORCED EXPOSURE

About

Since 2014 Shelter Press has been steadily releasing a multi-volume series of documents showcasing Gabriel Saloman’s music for contemporary dance. Under the title of Movement Building, these albums have covered a wide breadth of themes and approaches, all of them coalescing around Saloman’s darkly cinematic approach to contemporary guitar music. Known for his part in the seminal electronic-noise duo Yellow Swans (alongside Pete Swanson), Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding pallette of bowed strings, martial percussion and resonant piano.

Shelter Press has now made good on its promise to collect all three volumes of this vinyl only series – Movement Building Vol. I (2014); Vol. II (2015); and Vol. III (2017) – as a double CD featuring two hours of music, new artwork, previously unreleased tracks, a new digital master by Helmut Erler of Berlin’s Dubplates & Mastering, and an extensive essay on dance, politics and the themes of each album written by Saloman. These collected volumes provide an absolutely necessary document for any fan of Saloman’s work, past or present.

The first disc collects Movement Building Vol. I and Vol. II, the former a sprawling 36 minutes epic that had previously been separated into two discreet tracks for vinyl and is collected here as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with groups such as My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and Saloman’s infamous take on Miles Davis’ classic My Funny Valentine.

The second disc collects Movement Building Vol. III, including two tracks not available on the concurrently released vinyl version. Vol. III shares with earlier albums the emotive and disorienting bowed guitar, militant percussion and searing guitar eruptions that was so evocative of memory and trauma. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholy guitar melodies, and a patina of harsh noise at just the right moments. Added to this is a more contemporary approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position overlapping “modern classical”, “electronic music”, and the more outer limits of “ambient metal”. The recordings collected in Movement Building doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.

— 

Out on September 22th as 2xCD compiling all 3 volumes of the Movement Building serie.

See also

Gabriel Saloman ‘Movement Building Vol. 3’ LP (SP085 / 2017)
Gabriel Saloman ‘Movement Building Vol. 2’ LP (SP063 / 2015)
Gabriel Saloman ‘Movement Building Vol. 1’ LP (SP051 / 2014)

 



Gabriel Saloman
‘Movement Building Vol.3’ (SP085)

Gabriel Saloman Movement Building Vol 3 Shelter Press Bartolomé Sanson

Gabriel Saloman ‘Movement Building Vol.3’

Extract

Technical

7 tracks
Download code included with one additional track
45:07 min
LP / 33 rpm
2017
first edition of 500 copies
140grm vinyl, uncoated sleeve, black polylined inner sleeve

Credits

All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist LP

A1. What Belongs To Time
A2. What Belongs To Bass
A3. What Belongs To You
B1. What Belongs To the Fire
B2. What Belongs To the March
B3. What Belongs To the Line
B4. What Belongs To Rest

Tracklist Digital

1. What Belongs To Time
2. What Belongs To Bass
3. What Belongs To You
4. What Belongs To Love
5. What Belongs To the Fire
6. What Belongs To the March
7. What Belongs To the Line
8. What Belongs To Sleep

Order / Wholesale

— Direct order from our STORE
— EU distribution via BOOMKAT
— US distribution via FORCED EXPOSURE

About

Shelter Press has made good on its promise to deliver the third and final volume of its series featuring Gabriel Saloman, released both on vinyl and collected with Movement Building Vol. I (2014) and Vol. II (2015) as a double CD. For fans of Saloman’s post-Yellow Swans work – an already dense catalog of darkly cinematic compositions mostly conceived as accompaniment to some of Vancouver’s edgier contemporary dance companies, Movement Building Vol. III is not only a much anticipated conclusion to this trilogy, it is the most fully realized album in years. Where as Movement Building Vol. I & II acted primarily as documentation of time-based artworks, Movement Building Vol. III offers a more coherent and narratively rich album that will appeal to admirers of Soldier’s Requiem (Miasmah, 2013).

Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise. Added to this is a more 21st Century approach to drums and bass, perhaps an effect of his collaborations with producer Michael Red in their dub-ambient project Chambers.

Saloman’s music has never sat comfortably in any genre, sharing with a select cohort of other artists (Stephen O’Malley, Lawrence English, Grouper, Kreng, Tim Hecker, among others) an ambiguous position between “modern classical”, “electronic music”, and the more outer limits of metal. Movement Building Vol. III doesn’t clarify as much as it expands Saloman’s oeuvre further into an idiosyncratic musical no-man’s land that fails to be faithful to any popular musical trend – contemporary, retro or futurist.

Movement Building Vol. III’s themes are taken from the dance it was composed for, 2015’s What Belongs To You, created by longtime collaborator Vanessa Goodman (Adhere, Soldier’s Requiem). That work sent its dancers through a physical journey exploring the needs of the body, for shelter, for love and for self-actualization, roughly aligned to Abraham Maslow’s “hierarchy of needs”. The resulting album seems to achingly soundtrack the struggle for survival, not simply for bare life but for something greater and more transcendent that would make survival have meaning. It holds dread and hope in equal parts, never quite giving away the end of the story. Though this record was recorded two years ago Movement Building Vol. III could be the perfect album for our current era of civilizational near-collapse, whether at the hands of maniacal politicians, the slow burn of the Anthropocene or the constant enclosure of the corporate driven, social media enabled surveillance state.

Movement Building Vol. III arrives both as a stand alone vinyl release, and as part of a collection of all three volumes packaged in one double CD. The collection of these works allows one to see clearly Saloman’s techniques and approaches to a relatively limited number of instruments – guitar, percussion, occasional piano and tape. Movement Building Vol. I is presented as one continuous piece, moving through an extended set of drone and loping drum play before climaxing in the kind of glorious guitar chording most often associated with My Bloody Valentine, GSYBE or Mono. Movement Building Vol. II explores various combinations of drum and drone, ASMR inducing high end clatter and the now infamous take on Miles Davis’ classic My Funny Valentine. The digital versions of these albums, mastered by Helmut Erler at Berlin’s Dubplates & Mastering, restore to them their full range of frequency and dynamics, providing a deeper glimpse into the theatrical origins of their composition.

Movement Building Vol. III is not only the final installment in Shelter Press’ series but also represents the culmination of a prolific period of creation for Saloman that began with 2012’s Adhere. From 2011-2016, Saloman produced dozens of recordings in collaboration with various dance artists. Currently living in Santa Cruz, California, and working on a PhD concerning noise and protest, it’s unclear how a new home and a new political reality will shape the music he makes next. One thing is for certain: it’s unlikely that Saloman will be silent for long.

— 

Out on September 22, on LP / DL, and on 2CD compiling all 3 volumes of the Movement Building serie.

 



Bellows
‘Strand’ (SP080)

Shelter Press Giuseppe Ielasi Nicola Ratti Louis Reith Bartolomé Sanson
Shelter Press Giuseppe Ielasi Nicola Ratti Louis Reith Bartolomé Sanson

Bellows
‘Strand’

Extract

Technical

8 tracks
39 min
LP’ / DL
2017

— LP Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on reverse board-inner and outer jacket.

Release date: June 9th, 2017

Tracklist

A1. Untitled #1
A2. Untitled #2
A3. Untitled #3
A4. Untitled #4

B1. Untitled #5
B2. Untitled #6
B3. Untitled #7
B4. Untitled #8

Credits

All music: Bellows (Giuseppe Ielasi and Nicola Ratti)
Artwork: Louis Reith
Design: Bartolomé Sanson
Mastering: Giuseppe Ielasi
Cutting: D+M

UK/EU/ROW Distribution: Boomkat
USA/CA Distribution: Forced Exposure

Released by Shelter Press in 2017

Preorder

About

Italian electro-acoustic composers Giuseppe Ielasi and Nicola Ratti reconvene their unique Bellows collaborative project for a new album on Shelter Press.

Continuously drawing an hypnotic maze with albums on Boomkat Editions, Entr’acte, and Ielasi’s cult Senufo label, Bellows offers their first album on Shelter Press with Strand.
Clocking right under 40 minutes, Strand is direct and desorienting. With eight tactile but distant untitled tracks, the album convokes a complex sound palette between acousmatic sound and fractal beats.

Recorded in Milano at their very own Standards recording studio, Strand marks a shift in Bellows previous recording process, bringing more music gear on the table: tapes, modular synthesizers, effects and samples. Captured live over the course of a four days improvised session, the album floats between ghostly melodies, musique concrète, and analog electronics.

Echoing with the artwork by Amsterdam-based artist Louis Reith, whose collages made of found black and white images are disrupted by bold geometric constructions, the album is disorienting and fascinating, seating right in between the challenging world of electro-acoustic and a more welcoming beat-oriented territory.

Strand is a fascinating body of work, growing over time and revealing more of its complexity at every listen.

Released on June 9th, 2017 on LP and digital formats. Mastered by Giuseppe Ielasi and cut at D+M, with artwork by Louis Reith.

Félicia Atkinson
Hand In Hand’ (SP081)

Felicia Atkinson Hand In Hand Shelter Press Bartolomé Sanson
Felicia Atkinson Hand In Hand Shelter Press Bartolomé Sanson

Félicia Atkinson
‘Hand In Hand’

Extract

Technical

10 tracks
57:50 min
2LP/ CD / DL
2017

— DOUBLE LP
Total pressing : 1500 copies
Pressed at Pallas on 140grm vinyls, printed artwork on uncoated sleeve and innersleeve.

First pressing
125 copies on white and green vinyls
375 copies on black vinyls

Second pressing
 150 copies on pale yellow and pink vinyls
 350 copies on black vinyls

Third pressing
 500 copies on black vinyls

— CD DIGIPACK
Glassmastered Cd is gloss varnish digipack
1000 copies.

Clic HERE to Order.

Release date: May 04th, 2017

Tracklist

Vinyl

1 I’m Following You
2 Valis
3 Curious In Epidavros
4 Adaptation Assez Facile
5 Monstera Deliciosa
6 Visnaga
7 A House A Dance A Poem
8 Vermillions
9 Hier Le Désert
10 No Fear But Anticipation

CD

1 I’m Following You
2 Valis
3 Curious In Epidavros
4 Adaptation Assez Facile
5 Monstera Deliciosa
6 Visnaga
7 A House A Dance A Poem
8 Hier Le Désert
9 Vermillions
10 No Fear But Anticipation

Credits

Music: Félicia Atkinson
Layout: Bartolomé Sanson

Mastered and cut by Helmut Erler at D+M.

Released by Shelter Press in 2017

Order / Wholesale

Ship on or before May 4th, 2017

PHYSICAL ORDER: available in the STORE
DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About the record

Félicia Atkinson new full length album, ‘Hand In Hand’ is an expanded development of her musical compositions started with the highly-acclaimed A Readymade Ceremony released on Shelter Press in 2015, and follows her collaborative effort with Jefre Cantu-Ledesma Comme Un Seul Narcisse (Shelter Press, 2016).

Composed over the year of 2016 at EMS during a snow storm and at home in Brittany, Hand in Hand could be considered as the most ambitious body of work recorded by the French musician and artist.

Doubt and Optimism are the two sides of a same coin. Hand in Hand is arid and warm in its whole synchrony and opposition. Days are burning and nights are made of ice. Coyotes are exchanging sounds with rattles snakes while bunnies are hiding. Strident modular sounds are tearing apart minimal beats and drones. The stories told by A Voice to the auditor are no longer fictions and become slowly reality.

Electric waves transmitted by living creatures and machines seem to deliver special sounds and frequencies that only non-human can hear. They grow and vibrate despite of the walls and interdictions. Therefore, the human who is listening to this record might find in it a particular kind of emotion a way to take space in silence, and frame a certain vision of thinking while losing a certain notion of time, acknowledging step by step its universal environment. Plants, galaxies, animals, machines, Hand in Hand.

This record is meant to be a moment of common thinking and listening in its diversity and abstraction. In the same way a sci-fi novel by Philip K. Dick or a sculpture by Guy Mees can be percieved: trivial, sensitive and mysterious at the same time.

The opening track, I’m Following You is a bleached romantic ballad for Fender Rhodes that could be the ending title of a Martian love story, whereas Visnaga praises the resources of a desert plant through asmr voices, field recordings and evasive chords. A House A Dance A Poem is a feminist hymn composed as a pyramidal structure, referring in the same time to the A-frame houses, the yoga position of the triangle, the first letter of the roman alphabet and the feminine sex. In the closing song, No Fear But Anticipation, Atkinson offers an open hearted plea about the existentialist necessity of finding desire even when the times seem too dark to think about it. A telepathic and non-scholastic anthem for Don Delillo, Joan Didion and Jean Paul Sartre. The final Buchla sounds that close the record seem to deliver an unspeakable message that only birds and aliens could transcript.

The echo of the 80’s sci-fi anxious aethetics resonates with today’s transparency of digital sounds in the whole record. The cohabitation of simple midi textures and historical Serge and Buchla signals are convoked and confronted together by A Voice. The human instrument appears here as the epicenter of the recordings, giving to the others instruments a gravitational point.

Joan La Barbara, Robert Ashley or Delia Derbyshire are the main influences of Atkinson in their own way of inviting fiction, composition and abstraction as the essential materials of composition. For Hand In Hand, Félicia Atkinson used different sources for the lyrics and scores of her tracks: house plant instruction books, Desert Magazine old issues, architecture manuals, JG Ballard and K. Dick’s books, as well as her own poetry.

Félicia Atkinson will premiere Hand In Hand for GRM’s festival Presences Electroniques with a 16 channels diffusion. A 7 hours extended version of the record, conceived as an evironmental audio book will be broadcasted for 2 months at La Criée Center for Contemporary Art from April 1 to May 31 in Rennes (FR).

About the artist

Félicia Atkinson (Paris, b. 1981) is a french composer and visual artist, currently living in Rennes, France.

After graduating from the French art school Les Beaux Arts de Paris, a city where she started to make art and music under her own name, she moved to Brussels in 2009 to persue her artistic carrier, developping a wide visual body of work mainly focusing on sculpture and painting. It’s also there that she began to record music under the moniker Je Suis Le Petit Chevalier. Between 2010 and 2013, she released albums with this moniker on labels such as Shelter Press, NNA, Aguirre, Digitalis.

The year 2011 was the year of two albums recorded under her own name and recorded mainly with rhodes and guitar: The Driver (Hibernate) and O-Re-Gon (Home Normal). Mexico-based label Umor Rex will released a collection of B-Sides and rare tracks in 2013 on the double LP ‘Visions / Voices’.

Nature and contemplation playing a central role in her creative process, she relocates in 2013 for two years in the French Alps where she records at home her highly acclaimed album A Readymade Ceremony and the material for her collaborative album with NY-based musician Jefre Cantu-Ledesma Comme Un Seul Narcisse, both released on Shelter Press. With those two albums, she reaches a new milestone in her musical research, defining the seminal elements of her actual composition tools: concrete music, asmr voices, minimal electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra basses, always held by a strong sense of musical harmony.

Currently based on the French Atlantic west coast where she shares her time between her artistic carrier and musical practice, she composed Hand In Hand (Shelter Press, 2017), her most ambitious release to date. It’s in this new context that the problematics of sound instalation, multichannel diffusion, and performance are starting to play a key role in her musical practice.

It’s also in 2016 – 2017 that Félicia Atkinson exhibited her visual work the most with various solo exhibitions and performances in galleries and contemporary art centers around the world.

Félicia Atkinson has played in international festivals such as GRM’s Presence Electronique (Paris, FR), Rewire Festival (Den Hague, NL), Novas Frequencias (Rio De Janeiro, BZ), Sound Of Stockholm (Stockholm, SE), Borderline Festival (Athens, NL). She also performed in many art venues including Lisa Cooley Gallery (New York, USA), Palais de Tokyo (Paris, FR), Kunsthal Charlottenbord (Copenhagen, DK).

Félicia Atkinson co-runs Shelter Press with Bartolomé Sanson from its beginning in 2012.

Selected Reviews

Tinymixtapes 1 (EN)
The Wire (EN)
The Quietus (EN)
Thump (EN)
Self Titled (EN)
15 Questions (EN)
— Tinymixtapes 2 (EN)
Fact (EN)
Boomkat (EN)
Fluid Radio (EN)
A Closer Listen (EN)

— Brainwashed (EN)
— Tinymixtapes 3 (EN)
Stranded (EN)
Beachsloth (EN)
Gorilla Vs Bear (EN)
Yellow Green Red (EN)
Cuulturpers (NL)
Ondarock (IT)
Dommune (JP)
Lakenote (CR)
Mic (GR)

End of year list

— The Wire / Top 50 Albums Of The Year (#14)
— Boomkat / Top Releases 2017  (#04)
— Experimeda / Album of the year (#01)
— Tiny Mix Tapes /  Favorite 50 Music Releases (#11)
— El País / La mejor música de 2017
— Noisey /  Top 100 Albums Of The Year
— The Quietus /  The Best French Music Of The Year
— Self-Titled / 100 Records We Really Dug In 2017
— Brainwashed / Albums of the year (#33)
— Stranded Record / Top 20 Albums Of The Year
— A Closer Listen / Top 20 Albums of the Year




Native Instrument
‘Camo’ (SP073)

Native-Instrument-Shelter-Press

Native Instrument
‘Camo’

Extract

Technical

4 tracks
20 min
12′ / DL
2017

— 12′ Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on uncoated sleeve with centerhole on front.

Release date: March 16, 2017

Tracklist

A1. Deep Frog
A2. Vögel Unserer Heimat

B1. Waldfest
B2. Emutional Flutes

Credits

All music: Felicity Mangan and Stine Janvin Motland
Artwork: Felicity Mangan and Stine Janvin Motland
Layout: Bartolomé Sanson

Mastered by Giuseppe Ielasi
Cut at D+M and pressed at Pallas.

Released by Shelter Press in 2017

Order

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

Native Instrument is a Berlin based sound collaboration bringing together the field-recordings archive of Felicity Mangan and the abstract vocabulary of Stine Janvin Motland.

Often referred to as insect techno, Native Instrument’s music is constructed using electronic and vocal adaptations of wildlife audio recordings originating mainly from the Australian and North European fauna; mixing the natural rhythms of animal calls with digital effects and vocal imitations, Native Instrument enlightens a sonic ambiguity between rural nature, electronics, and the human voice.

Over time, field recordings and human vocabulary become mixed up, indiscernible from one another – a sound illusion that ends in the creation of a new melodious wildlife genre.

With their debut release Camo, Native Instrument presents their true artificial nature; sound collages moving between tropical ambience, club inspired bug beats and amphibian trance.

Mastered by Giuseppe Ielasi and pressed at Pallas in a first edition of 500 copies.

Gábor Lázár
‘Crisis Of Representation’ (SP076)

Gabor_Lazar-Crisis_Of_Representation

Gábor Lázár
‘Crisis Of Representation’

Extract

Technical

8 tracks
37:51 min
LP + CD/ CD / DL
2017

— LP Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on uncoated sleeve and innersleeve. Includes the CD in digisleeve. First 200 copies pressed on white wax, remaining on black.

— CD Edition of 500 copies in digipack.

Release date: January 12, 2017

Tracklist

A1. Crisis Of Representation #1
A2. Crisis Of Representation #2
A3. Crisis Of Representation #3
A4. Crisis Of Representation #4
B1. Crisis Of Representation #5
B2. Crisis Of Representation #6
B3. Crisis Of Representation #7
XX. Crisis Of Representation #8 (CD only)

Credits

Music: Gábor Lázár
Artwork: Zsófia Boda
Layout: Bartolomé Sanson

Mastered and cut by Rashad Becker at D+M.

Released by Shelter Press in 2017

Order / Wholesale

Ship on  January 12, 2016

PHYSICAL ORDER: available in the STORE
DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

Budapest-based composer Gábor Lázár debuts on Shelter Press with his second full length album, Crisis of Representation.

Continuously defining his unique composition skills over the years, Gábor Lázár shared a first release with Russell Haswell for his now defunct imprint Last Foundation, quickly followed in 2014
by the album I.L.S. on Lorenzo Senni’s Presto!? label and EP16 on Boomkat’s The Death of Rave, before collaborating last year on a joint album with Mark Fell for the highly acclaimed The Neurobiology of Moral Decision Making, also released on The Death of Rave.

Crisis of Representation, his next statement is a collection of 7 (+1) pieces. Years in the making, the record gathers tracks « mostly recorded in 2015, but some of the tracks were recorded as early as 2011 ; but they are all about the same idea. It’s really important to me to be able to be focused over a long period of time ».

Titled as Crisis of Representation, the album is another step further into the direction his abstract techno fragments. Instead of repeating beats, Gábor Lázár maintains linearity by using only one type of characteristic sound and a few composition techniques throughout the whole album.

Gábor Lázár Crisis Of Representation will be released on January 2017 on LP (with bonus CD), CD, and digital formats. Mastered and cut at D+M by Rashad Becker, with artwork by Zsófia Boda.

Ben Vida
‘Damaged Particulates’ (SP075)

sp075-a

Ben Vida
‘Damages Particulates’

Extract

Technical

2 tracks
38 min
LP/DL
2016

— Edition of 500 copies pressed at Pallas on 140grm vinyl, printed artwork on uncoated sleeve and innersleeve.

Release date: October 20, 2016

Tracklist

A. Damaged Particulates
B. Reducing the Tempo to Zero

Credits

Music: Ben Vida
Artwork: Katy Fischer
Layout: Bartolomé Sanson

Mastered and cut by Helmut Erler
at Dubplates and Mastering.

Released by Shelter Press in 2016

Order / Wholesale

Ship on / before October 20, 2016

PHYSICAL ORDER: available in the STORE
DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

Ben Vida’s Damaged Particulates LP represents the conclusion of one body of work, Damaged Particulates, and the beginnings of a new long form project titled Reducing the Tempo to Zero.

The version of Damaged Particulates (2012-2016) included in this LP is the final iteration of a piece that Vida has been developing for close to four years. It first materialized as a number of individual synthesizer studies under the title Damaged Parts. These studies became the source material for an early version of DPs, taking shape as a commissioned work for the Unsound Festival. For the commission the piece coalesced as a single, through-composed live sound installation that utilized tactile subbass speakers which interfaced directly with the audiences bodies. In this form Damaged Particulates was presented at festivals, galleries and museums including versions at Experimental Intermedia, New York, Cricoteka Museum, Kraków, Poland and Leap Gallery, Berlin. It has since been presented in live performance at Museo d’Arte Moderna di Bologna, Bologna and Electrónica en Abril, Madrid and as a multichannel defusion at the Akousma Festival, Montreal.

Reducing the Tempo to Zero (2016 – ???) is the first recorded dispatch of Vida’s new long form composition. This excerpt demonstrates a short instrumental passage taken from a work that, in its full duration, clocks in at close to five hours. Live performances featuring a four member vocal ensemble have been presented at Lampo, Chicago and at The Kitchen, NYC. This mutable composition will be reconfigured once again in late 2016, this time scored for choir and electronics, to be staged in Italy and Belgium.

Reducing the Tempo to Zero represents Vida’s return to the durational drone based forms that he first experimented with in the mid-90’s with his group Town and Country. In performance, RtTtZ continues his exploration of phonetic based text scores. This method of scoring was used in his project Slipping Control which debuted at Audio Visual Arts Gallery, NYC (the vinyl version is available as an LP from Shelter Press), and creates a continuous thread between his work as a composer and his developing career as an artist. In recent solo shows at 356 S Mission Rd, Los Angeles and Lisa Cooley Gallery, NYC Vida has expanded his compositional process into a number of mediums, acting to blur any delineation between disciplines and practices.

Mastered and cut by Helmut Erler at D+M
Out on Oct 20, 2016 on Shelter Press

D/P/I
‘Composer’ (SP074)

sp074-lpcd-copie

D/P/I
‘Composer’

Extract

Technical

7 tracks
31:38 min
12’/CD/DL
2016

— 12′ in an edition of 500 copies pressed at Pallas on 140grm vinyl, uncoated sleeve w/ die-cut hole on front
— CD in an edition of 500 copies in jewel case

Release date: September 09, 2016

Tracklist

1. Poly-
2. Semantics
3. Image Furnace
4. Ecstatics
5. Escape
6. Acid
7. Pattern/WAYTA?

Credits

Music Alex Gray
Artwork Alex Gray

Mastered and cut by Rashad Becker
at Dubplates and Mastering.

Released by Shelter Press in 2016

Order / Wholesale

Ship on / before September 09, 2016

PHYSICAL ORDER: available in the STORE
(last copies on the 12′ !!)

DIGITAL ORDER: available on BANDCAMP

Retail / Distribution
EU/ROW via BOOMKAT
USA via FORCED EXPOSURE

About

D/P/I (Alex Gray) is a musician, DJ and visual artist from USA; he has made music under the alias of Deep Magicand as a part of various Sun Araw Trios, Duos and Quartets. Now, most of the time, he plays drums, guitar, or saxophone at home for his other half & two cats. Here he presents Composer. Mastered and cut by Rashad Becker at D+M.

“Composer” is an album of rhythms that, once started, eventually completed themselves without much input from the “Composer”. The character of a rhythm can develop very simply/unconsciously with just a slightly different part of the hand hitting a drum, or the wrist getting tired, causing trembling and stuttering that further magnifies the rhythmic stability of the pattern and/ or player. With electronics, it’s different physically, as you are not “hitting” anything, but the link to the subconscious/unconscious, remains analogous. Every adjustment to a single sound/pattern can reveal complexities that were not apparent when the sound/pattern started. A natural flow begins, similar to the development of complex accents via “human error” of using an ordinary djembe or conga: as the composer begins to inter-be entranced by the sound/ pattern, with a midi-mapped set of physical knobs, controlling complex processes/effects – each effect/process assumes it’s own character for that, almost quantum-like, layer of improvisation – layer by layer, until the simple layers of sound/patterns have naturally developed into compositions that reflect the seeming-instability, excitement, and sadness in time, here referred to as a fixed, unmoving element in the “universe”, that our human software is intrinsically dependent on to interpret these rhythms and the rest of the material world. This album was fun, exciting and unpredictable until the day it was “finished”. I hope this album encourages people to think for themselves. This isn’t a “techno”, “experimental”, “abstract”, “dance”, “IDM”, or any “genre” of album. I hope you know what I mean. I hope that music hasn’t lost the quality of inter-being “beyond categorization”. I also hope that, to a small extent, this album can act as a beacon of creativity for future generations, who are currently being completely saturated by marketing content for products and media that will do nothing but confuse and distract them. — Alex Gray, July 2016

 

Press pic

SP074_PR_PIC

Matt Carlson
‘The View From Nowhere’ (SP072)

Matt Carlson The View From Nowhere Shelter Press

Matt Carlson
‘The View From Nowhere’

Extract

Technical

9 tracks
36:50 min
LP / 33 rpm
2016
first edition of 500 copies
140grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: July 21, 2016

Tracklist

A1. Sitting Down To Boolean Tea
A2. In Order To Find the Real Artichoke, We Divested It Of Its Leaves
A3. The Game
A4. A Discrete Infinity
B1. An Enhanced Interrogation Of Authenticity
B2. The Non-Entity
B3. How S Can Be Indirectly Self Defeating
B4. The View From Nowhere
B5. Why I Left The Center

Credits

Composed, recorded, edited, and mixed in 2014
by Matt Carlson at Worksound in Portland, OR.
bucketfactory.com

Mastered and cut by Helmut Erler
at Dubplates and Mastering.

Art/Layout by Matt Carlson and Eric W. Mast.
Released by Shelter Press in 2016

Order / Wholesale

Out on July 21, 2016

ORDER / available in the store 

Distribution in EU via Boomkat and USA via Forced Exposure

About

The View From Nowhere is a record of experimental electronic music that explores possible relationships between voice and modular synthesis. Composed and recorded by Matt Carlson at Worksound in Portland, OR, the record develops and expands ideas discernible in his early solo works or as one-half of the duo Golden Retriever.

Built with a clear unity of approach centered on the voice and text as elements in synthesis, the record flattens the distance between the vocal and the musical. The voice sounds synthesized, and the synthesized sounds seem to be speaking to you. The View From Nowhere takes Carlson’s interest in the sounds of attempted communication into the realm of the textual.

Although melody and a good dose of Matt’s unusual sense of humor shape the record, another key emphasis in the composition is his specific approach to rhythm and sequencing. Rhythmic patterns are used but the music is somehow never fully on or off the grid. Carlson opts to use Nancarrow-esque overlapping meters and tempos to keep the music out of any kind of predictable patterns of electronic music.

The View From Nowhere is thematically centered around ideas of confusion, panic, misunderstanding, and “bad faith” communication. It’s interested in the process of how something moves from being an “abstract” sound into becoming a signifier of specific meaning, and the interstitial space in between.

The felt attempt to communicate meaning lay behind the artwork as well, standing as a visual representation of the way the music approaches language. The text-based imagery strives to exist between sense and nonsense, the meaningful and the meaningless. Individual syntactical units “point” to one another but don’t necessarily cohere into comprehensible statements. Relationality is implied and seems to emerge merely by placing signifiers against one another.

Taking influence from text-sound composers such as Charles Amirkhanian, the early voice-synthesis work of Charles Dodge, and Robert Ashley’s more speech-heavy work, The View From Nowhere might be Matt Carlson’s most challenging and refined record to date. It’s like being near a million tiny entities all trying to communicate with you simultaneously, or being in a crowded place hearing the rhythms and cadences of communication but not quite being able to parse it.

Mastered and cut by Helmut Erler at D+M, pressed on 140g vinyl.
Edition of 500 copies worldwide.
Sleeve designed by Matt Carlson and Eric Mast.
Shelter Press, 2016

 

Felicia Atkinson / Jefre Cantu-Ledesma
‘Comme Un Seul Narcisse’ (SP070)

Felicia Atkinson Jefre Cantu Ledesma Comme Un Seul Narcisse Shelter Press
Felicia Atkinson Jefre Cantu Ledesma Comme Un Seul Narcisse Shelter Press
Felicia Atkinson Jefre Cantu Ledesma Comme Un Seul Narcisse Shelter Press

Felicia Atkinson / Jefre Cantu-Ledesma ‘Comme Un Seul Narcisse’

Collage preview

Technical

10 tracks
39 min
LP / 33 rpm
2016
first edition of 550 copies
160grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: March 21th, 2016

Tracklist

A1. O
A2. B
A3. J
A4. E
A5. TS
B1. ME
B2. LA
B3. NC
B4. OL
B5. IQUES

Credits

Music Felicia Atkinson and Jefre Cantu-Ledesma
Photograph John Wiese, Shelter Press at LACA, LA, 02.15
Design Bartolomé Sanson
Mastering Helmut Erler (D&M)

Recordings made between the Alps and NYC,  2014 – 2015

Order / Wholesale

— SOLD OUT AT SOURCE
DIGITAL via bandcamp
— EU retail / distribution via
BOOMKAT
— US retail / distribution via 
FORCED EXPOSURE

About

French artist Felicia Atkinson teams up with New York-based experimentalist Jefre Cantu-Ledesma with Comme Un Seul Narcisse (SP070), their first collaborative effort recorded between NYC and the Alps.

Comme Un Seul Narcisse is an epistolar conversation of post-modern times between Jefre Cantu-Ledesma and Felicia Atkinson, who – strangely enough – only met «in real» once in San Francisco back in 2009. But the record is also a detour. While Cantu-Ledesma released the haunting A Year With 13 moons (Mexican Summer, 2015) and Atkinson her most intimate effort to date with A Readymade Ceremony (Shelter Press, 2015), their combined music sounds like everything but their recent records, filling the gaps between their solo outputs.

What is it to wander? What is it to be – as Baudelaire would put it – a flaneur from a continent to another ?

From the subways of NYC to the crooked trails of the Alps, the two musicians have exchanged fragments of sounds, melodies, composing and building together a new landscape, neither bucolic or urban, a bit aside from nomenclatures or postcard-type aprehension of a site-specific recording.

Here there’s no specific site but a construction build from eterogenous elements brought together, in a virtual ecosystem.

What is to wander…. in a non-specific site? Is it a fragmentation? A sedimentation?

The title of the records and the tracks are hinerited from Susan Sontag’s On Photography quoting Baudelaire: the flaneur sees himself in the documents and medias he uses and intergrates to his own perception, the act of recording becomes again an act of feeling.

Somewhere between some Fluxus collages and more contemporary musicality, this «neither/nor» music confront abstraction to the impermanence of concrete materials, building something on its own, as a standing still ceramic or a pond. Comme Un Seul Narcisse is a record to live with, as Jacques Ranciere would put it a partage du sensible (distribution of the sensible), standing as it is, unresolved, neither as a simulacre. There’s no image to watch here but the possibility of a shared a moment, inviting the listener to complete the experience by himself.

First edition of 550 copies.
Mastered by Helmut Erler at D+M
Photography by John Wiese after a piece by Felicia Atkinson
Design by Bartolomé Sanson

Joshua Bonnetta
‘Lago’ (SP069)

SP069 / JOSHUA BONNETTA LAGO
SP069 / SHELTER PRESS LAGO

Joshua Bonnetta ‘Lago’

Streaming

Technical

2 tracks
44 min 01
LP / 33 rpm
2016
first edition of 500 copies
160grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: January 22th, 2016

Tracklist

A. ‘Everything that was Ever Something’
B. ‘What Lies in It’

Order / Wholesale

— SOLD OUT AT SOURCE
BUY DOWNLOAD
— EU retrail / distribution via BOOMKAT
— US retail / distribution via FORCED EXPOSURE

About

Lago is an LP recording created in dialogue with the photobook (of the same title) by American photographer Ron Jude, published by MACK (UK).

The two compositions revisit the sites of Jude’s initial photographs in and around the Salton Sea in the Southern California desert, and use site specific field recordings and analogue processing to craft an aural counterpoint to the photographs themselves and the photographic process. Contact microphones and hydrophones were used to gather sounds from flora, desert refuse, architectural ruins and the Salton Sea itself to create an expanded study of the acoustic ecology of the area. The work weaves together location recordings alongside interviews to construct an acoustic portrait of the desert that is steeped in intimations of narrative dealing with loss, history and a landscape haunted by a spectre in darkness. Lago is an attempt to enter into the perceptual horizons of the desert whilst also engaging a past that shapes the encounter.

Credits

All music by Joshua Bonnetta
Mastered by Mike Grinser at D+M
Photographs by Ron Jude
Layout by Bartolomé Sanson

Recordings made in and around the Salton Sea, California March 2015.
ME66 & 62, contact microphones, hydrophone, TASCAM DR60, cassette recorder, tape loops, Nagra 4.2.
Edited and mixed in Ithaca & Brooklyn, New York and Marin County, California.

Kassel Jaeger / Stephan Mathieu / Akira Rabelais
‘Zauberberg’ (SP068)

SP068 Kassel Jaeger Stephan Mathieu Akiras Rablelais Shelter Press

Kassel Jaeger / Stephan Mathieu / Akira Rabelais ‘Zauberberg’

Extract

Technical

2 tracks
49 min 30
LP
33 rpm
2016
first edition of 500 copies
160grm vinyl, uncoated sleeve, uncoated inner sleeve

Release date: February 22th, 2016

Tracklist

A. ‘Zauberberg’ (part 1)
B. ‘Zauberberg’ (part 2)

Order / Wholesale

— SOLD OUT AT SOURCE
BUY DOWNLOAD

About

Few years ago, an idea germinated while reading The Magic Mountain by Thomas Mann. An idea not driven by the narrativity of the book, but by the traces and the aura invoked in it. That was it: an audible auratic journey trough the memories of a place lost in the heights of the swiss mountains.

A century after the events depicted in the book, we went where the story took place, trying to capture the remaining sounds that could have been heard at the time, and the ghosts who might have still wandered around.

Zauberberg is based on these captures, on recordings of the music played by Hans Castorp (the novel’s main character), on acoustic/electronic instrumentation and digital processing. The result is an evokation of time and duration, an exploration of what remains and what is lost, a meditation of the dissolution and persistence of the aura surrounding everything.

— Kassel Jaeger, Nov. 19, 2015

Credits

All music by Kassel Jaeger, Stephan Mathieu, Akira Rabelais
Mastered by Rashad Becker at D+M
Photograph by Caro Mikalef
Layout by Bartolomé Sanson

Recorded at Studio 116, GRM, Paris, Fr (10.2013)
Field recordings made on location at Schatzalp, Davos, CH (08.2013)

Bulbs
‘Color Attic’ (SP066)

SP066 BULBS COLOR ATTIC

Bulbs ‘Color Attic’

Technical

4 tracks
24:43 min
12′ / 33 rpm
2016
first edition of 500 copies
160grm white vinyl stocked in a PVC sleeve with a PVC printed insert.

Credits

All music by Bulbs (Jon Almaraz and William Sabiston)
Mastered by James Plotkin
Artwork by Susan Sabiston
Design by Bartolomé Sanson

Tracklist

A1. Ladder Wing
A2. Skylight
B1. Big Tuna
B2. Yoke

Order / Wholesale

— Direct order from our STORE
— Digital via BANDCAMP
— EU distribution via BOOMKAT
— US distribution via FORCED EXPOSURE

Extract

About

Two years ago Shelter Press was based in the Alps where Pete Swanson made a few days stop while he was on tour. Not sure why we started to talk about this LA-based duo he released a few years back but the idea of having Bulbs doing a new recording for Shelter Press came up before dessert. It’s a pleasure to have him talking about (ex-Axolotl) William Sabiston and Jon Almaraz genius new record:

Pete Swanson, January 3rd, 2016:

“Bulbs is a band that I like so much that I started a record label to rep their work. I put out their Light Ships album in 2008 because I was so impressed with how futuristic their music was. They’ve remained active on their own terms since then, releasing a number of micro-editions of their music including a few incredible tapes (Sky listening, Moon Episodes) and a few splits (a 12″ with Mouthus and a 7″ with Wobbly).

Generally Bulbs’ music does not sound like the guitar/drum instrumentation would indicate. They have much more to do with Chain Reaction than White Stripes, but with the benefit of live instrumentation and an adventurous edge, they end up much wilder, looser, more organic than anything coming out of Berlin.

Color Attic is the second major work by Bulbs and finds the group exploring more oblique ambience, elliptical and granular guitar mashing up with loose, swinging synth drums, orbiting and colliding with each other..  All experimentation aside, Color Attic remains lush, beautiful and melodic to the point that you might find yourself humming parts of “Ladder Wing” while you’re doing the dishes.”

Gabriel Saloman
‘Movement Building Vol.2’ (SP063)

Shelter Press / SP063

Gabriel Saloman ‘Movement Building Vol.2’

Extract

Technical

5 tracks
38 min
12′ LP / 33 rpm
2015
first edition of 500 copies
140grm vinyl, uncoated sleeve, black polylined inner sleeve

Credits

All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist

A1. Contained Battle / Ascend
A2. Ear Piercer
A3. Mountain Music
B1. Gagaku
B2. My Funny Valentine

Extra

Artcover
Press Picture 1 / Press Picture 2

Order / Wholesale

— Direct order from our STORE
— EU distribution via ANOST
— US distribution via FORCED EXPOSURE

About

Shelter Press announces the release of the second volume in Gabriel Saloman’s “Movement Building” series, continuing the release of original compositions commissioned for contemporary dance works. Following the enthusiastically received first installment – volume one’s album length The Disciplined Body – Saloman offers up 5 new tracks that combine shimmering bowed guitars and reverberant acoustic percussion into a meditative and powerful break from anything he’s produced before. Mobilizing the frequencies of contemporary electronic music (fine tuned to speaker rattling effect by Helmut Erler at Berlin’s Dubplates & Mastering) Movement Building vol. 2 abandons the conventional instrumentation and genre motifs embraced by many of his peers in favour of an utterly unique hybrid of avant-drone, psych-rock and Japanese traditional music.

In 2013 Gabriel Saloman was commissioned by the Vancouver, Canada based dance company 605 Collective to collaborate on a dance work devised by the experimental performance company Theatre Replacement. The two year process resulted in the evening length immersive multi-media dance performance, The Sensationalists(2015), a study of affect and intensity focusing on an imagined secret society devoted to collectively producing autonomous sensory meridian response, or ASMR. A perceptual phenomena that can be produced through a combination of sensual and cognitive stimuli, ASMR adherents have produced thousands of videos on YouTube tailored to provide these sensations. In composing music for The Sensationalists, Saloman built on years of exploring the outer limits of frequency and volume with his former group Yellow Swans and produced a series of tracks that both anchored the live performance and induced waves of sensation in the audience in attendance.

An early inspiration for both The Sensationalists and the music collected in Movement Building Vol. 2 was the novel Snow Country by Yasunari Kawabata. The classic Japanese novel from 1956 tells the story of a geisha in a small mountain town and her married and wealthy male lover (a self-taught musician and self-appointed expert of Western ballet, respectively). Their tragic love affair, set amidst the snow, hot springs and mountains, became a thematic and contextual source for early phases of the project, and much of the music on this album is a result.

Borrowing compositionally and tonally from Taiko and Gagaku (an ancient drone based imperial court music), Saloman reproduced sounds originating in traditional Japanese drums, wind and stringed instruments almost completely on guitar, ride cymbals and snare drum. This influence is most explicit in the undulating rhythms that open the first side of Vol. 2 (Contained Battle/Ascend) and the layered escalation of the literally titled Gagaku, a methodical combination of rhythm and drone that climbs to a peak of psych-tinged burning guitar lines. Between these tracks are situated Ear Piercer and Mountain Music, two songs that have been staples of Saloman’s viscerally intense live sets for the last two years.

Concluding the album is a version of Miles’ Davis’ classic ballad, My Funny Valentine. This epilogue of sorts is a uncanny combination of original percussion and guitar, collaged together with what may be a live recording of Davis’ “second great quintet” taken off of YouTube, processed and time-stretched on tape. Conceived of as support for a duet interpreting a shambolic, drunken encounter between Snow Country’s protagonists, the piece provides a cool denouement following the drawn out intensities of what preceded it.

This second installment in what will resolve itself as a trilogy (look for Vol. 3 in 2016), Movement Building Vol. 2 is in someways a break from much of what Saloman has released before.  Just as his previous output has combined cinematic atmospheres with guitar driven climaxes that easily appeal to fans of neo-classical experimentalism and post-rock informed drone, this record opens new compositional territory while maintaining a recognizable melancholy ambience. Exposure to the monolithic bass and open spaces of dub influenced EDM has led Saloman in a different direction than many of his peers (including artists such as Cut Hands, Vatican Shadow and former bandmate Pete Swanson) and towards something that moves bodies and triggers their nerve endings, but with no concession to the dance floor.

Mastered and cut by Elmut Herler at D+M (Berlin) and pressed in a limited edition of 500 copies worldwide.

Stephen O’Malley
‘Eternelle Idole’ (SP060)

stephen-o-malley-shelter-press
stephen-o-malley-shelter-press
stephen-o-malley-shelter-press
SP060-d

Stephen O’Malley ‘Eternelle Idole’ (SP060)

Technical

6 tracks
49 min
2 LP + photo booklet
2015

first edition:
– 500 copies on white (OUT OF STOCK)

second edition:
– 300 copies on white (OUT OF STOCK)
– 100 copies on clear (OUT OF STOCK)
– 100 copies ice blue (OUT OF STOCK)

Copies AVAILABLE in the US via
Forced Exposure

160grm vinyl, 350gsm cover with gloss varnish
16 pages 30 x 30 cm saddle stitched booklet

Extract

Tracklist

A1. L’étang
A2. Aurore theme
B1. Eternal Idol
B2. Arrival of the trainer
C1.
C2. Return / Escape

About

September 2015 marks the release of Stephen O’Malley’s ‘Eternelle Idole’ (SP060), long awaited documentation of the score of Paris based choreographer Gisèle Vienne’s eponymous artistic ice skating choreographic piece of the same name.

Composed of 47 minutes of music spread over 2 vinyls and enhanced by a elegant and chilling photoset by Estelle Hanania, the record features some – familiar – O’Malley collaborators such as Steve Moore, Daniel O’Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog & Randall Dunn.

Recorded between Brest (FR), Seattle (USA), and Rotterdam (NL), the score sees Stephen O’Malley taking several creative detours, utilizing modular synthesizers and programming as key elements for much of the composition. And while a 3 minutes hole will extract the music from any temporality, emerging eerie phrases of keyboards and piano draw a white monochrome stage for a young girl’s stark and emotive elegy.

Not to worry then… clavichord and guitars weave the darkness, supported by Jesse Sykes prophetical voice, summoning the utter walls of the threats from the external world.

Mirroring the music score, Estelle Hanania presents 16 photographs from the choreographic piece, enlightening how much ice-skating can be about grace and sustain, geometry, telemetry, distance and perfection, as well as possible falls, gloomy shadows.

Metal against ice, tights and knots, spirals and scratches, shouts and winds : field recordings mold a crispy atmosphere while instruments draws some ovals shapes such as lakes, ice skating ring, cosmos belt… and a terrestrial cloud passage and eventual landing platform for a flying saucer.

— Out on September 4th via Shelter Press on white 3 sided double LP with a 16 page 30cm full color booklet.

Credits

All images by Estelle Hanania

Music composed and conducted by Stephen O’Malley

L’étang
Guitar & Programing : Stephen O’Malley
Programing : Peter Rehberg
Recorded in Brest 0208, Paris & Vienna 0408
[as KTL]

Aurore theme
Juno 60, Korg Polysix, Piano: Steve Moore
Programing : Stephen O’Malley
Recorded in Brest & Guilers 0508

Eternal Idol
Guitar, Field recordings, Programing : Stephen O’Malley
Piano & Clavichord : Steve Moore
Voices : Jesse Sykes
Choeurs : William Herzog
Recorded art Kent 1003, Brest 0508 & Seattle 1108
Mixed by Randall Dunn at Aleph, Seattle 1108
[as Pearl]

Arrival of the trainer
M-tron : Stephen O’Malley
M-tron, Korg MS20 : Randall Dunn
Recorded and mixed by Randall Dunn at Aleph, Seattle 1108

Return / Escape
ARP 2500 & M-tron : Stephen O’Malley
ARP 2500 : Daniel O’Sullivan
M-tron, Korg MS20 : Randall Dunn
Recorded at Worm / CIM, Rotterdam 1008
Recorded and mixed by Randall Dunn at Aleph, Seattle 1108
Additional field recordings :
Shoreline 1108 par Mell Dettmer
Brest 0109 par Kenan Trevien

Mastered by Mell Dettmer at Sinister Kitchen, Seattle 0114
Cut by Helmut Erler at Dubplates and Mastering, Berlin 0215

Musique éditée par Stephen O’Malley / Ideologic Organ (SACEM)
Paroles éditées par Spooky American Music, BMI (adm. BUG)

Chicaloyoh
‘Les Sept Salons’ (SP059)

Chicaloyoh Shelter Press

Chicaloyoh ‘Les Sept Salons’

Extract

Technical

3 tracks
19 min
one side 12′ LP / 33 rpm
2015
first edition of 500 copies
160grm white vinyl stocked in a PVC sleeve with a PVC printed insert.

Credits

All music by Alice Dourlen
Mastered by James Plotkin
Photography by Camille Vivier

Tracklist

A1. The Sound of his Tenderness
A2. Jeune Fille
A3. Prosternation Intérieure

Order / Wholesale

— Direct order from our STORE
— EU distribution via ANOST
— US distribution via FORCED EXPOSURE

About

It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven—an imperial suite. (—Poe, 1842)

Les Septs Salons is the name of Alice Dourlen new EP, who performs has Chicaloyoh.
Following her 2013 debut LP Folie Sacré (Shelter Press), this EP stands has a condensed document of a 18 months non-stop globetrotting tour. Melting experimental and oriental sounds with a strong theatrical aesthetics, Les Sept Salons is also the recording of a smooth transition between 2 languages, Alice Dourlen’s coming back to her—french—native tongue on half of the record. Contemporary bridges are getting built here, between psychedelic sounds and horror movie soundracks, between some modern incarnations of Nico and Catherine Ribeiro.

Built in two very distinctive parts, the EP has been recorded last summer in her very own by-the-sea recording studio Chaudelande (Normandy !). The first track The Sound of his Tenderness recalls some of the deepest moment of women-in-horror fictions as The Cremator (Hrusínský, 1969) or The Third Part of the Night (Zulawski, 1971). Chicaloyoh’s driven herself to a new galaxy of vocal explorations for a ten minutes opening track, The Sound of his Tenderness is for sure the most epic and complex piece of music ever composed by the musician.

Jeune Fille / Prosternation Intérieure—second and ending movement—is a twofold song. Bringing some unexpected orientalist colors, along some—long awaited!— lyrics in french in the realm of french poet Joë Bousquet or painter Balthasar Kłossowski, those new lyrics came with a new way of recording. Using the text as a crucial starting point in the composition process, Chicaloyoh find here a new world to dig in, of which this diptych sounds like a promising very first hint.

Standing as a beautiful answer to Chicaloyoh’s music, the votive offering on the cover has been made by the paris-based photographer Camille Vivier, with one of her very unique female form in wax.

Clocking just under 20 minutes, Les Septs Salons is the beautiful echo chamber from a timeless and very unique musician.

Edition of 500 copies worlwide with photograph by Camille Vivier.
Mastered by James Plotkin

Félicia Atkinson
‘A Readymade Ceremony’ (SP055)

Felicia Atkinson Shelter Press
Felicia Atkinson Shelter Press
Felicia Atkinson Shelter Press
Shelter Press / SP055
Shelter Press / SP055

Félicia Atkinson ‘A Readymade Ceremony’

Technical

5 tracks
32 min
12′ LP – CD – DL
2015

— edition of 500 copies (LP)
160grm vinyl, uncoated sleeve, uncoated inner sleeve
✗ 100 copies on clear wax
✗ 400 copies on black wax

✓ edition of 500 copies (CD)
digipack

All music by Felicia Atkinson
Mastered by Helmut Erler at D+M
Design by Bartolomé Sanson
Out on Mar. 17, 2015

Extract

Tracklist

A1. Against Archives
A2. L’Oeil
B1. The book is the territory
B2. Carve the concept and the artichoke
B3. Recherche de la base et du sommet

Order / Wholesale

— Direct order from our STORE
— EU distribution via ANOST
— US distribution via FORCED EXPOSURE

About

Relocated in the french Alps following a 5 years exile in Belgium, Felicia Atkinson returns on Shelter Press with A Readymade Ceremony, a concrete / post-digital oratorio in 5 parts.
Composed and recorded at home and on the Oregon coast, the opus documents a full range of bridges happening in Atkinson’s work. It documents the gather of her early-musical studies with her actual musical practice, the reunion of her two main projects — under her own name and Je Suis Le Petit Chevalier — and finally affirms the obvious link between her visual and sonic body of work.

Felicia Atkinson is a visual artist, a writer and musician graduated from Les Beaux-Arts de Paris. Her visual works – sculptures, paintings, installations and collages – includes a variety of media gathered together through the use of improvisation and its patterns such as delay, loop and saturations, with a chosen list of special tools : clay, silk, spray paint, watercolor, wood, or digital images…
Using the improvisation as a main technique to play music, write poetry and make art, her latest output is the book Improvising Sculpture as Delayed Fiction, a fiction / play published by Shelter Press in the fall of 2014.
Pursuing a radical position in the art world with the use of a publishing / economical autonomy as a very crucial element driving her carrier, this LP has been entirely recorded on her laptop using a super basic software. Felicia Atkinson reaffirms here the importance of the DIY in her creating process : the artist-run space as a place to exhibit, the studio space as a whole territory to record, the book as a score, the record itself as a proper documentation for a possible sculpture.

A readymade as the migration of one thing to another one’s context, involving a change of status, of genre, of politics. A ceremony as a possible gathering, a community shared moment, a happening, a celebration, a protest.

The first foundation of A Readymade Ceremony is the text, spread along the 5 tracks building the record. The text is a collage of extracts of Improvising Sculpture as Delayed Fictions (Félicia Atkinson, 2014), Recherche de la Base et du Sommet (René Char, 1955), and Madame Edwarda (Georges Bataille, 1937), and some random texts lying around while Atkinson was playing, mostly picked in the italian magazine Mousse.

Objects speaking, sculptures arguing : there is a surrealistic feel in the dark whisperings that we can hear responding to ‘Madame Edwarda’ an erotic text featured on the 2nd track ‘L’oeil’. A theatre of objects and desires, de-materialization of bodies through the sounds, it’s a gate open to concrete music and sound poetry. »

The other founding element is Atkinson’s getting back to her first encounter with contemporary music. Starting her musical education at the age of 4 acquiring music skills with the Martenot Method – a method that emphasis on rhythm and an intuitive and phenomenological learning of sound – she also got the chance to encounter at school the Structures Baschet from the Frères Baschet.

She then learned harp and piano before dropping it at 14, when she got more interested in theatre and indie rock. That is the moment she discovered the texts of the heritage of French literature such as Georges Bataille, Antonin Artaud, René Char, Henri Michaux or Jean Genet. Writers she convokes again 17 years after on this new record.
As a student she did a crucial workshop with Christian Wolff who made the art school students interpret Cornelius Cardew, and play music with stones and kitchen wares at the school’s chapel. At same time she became interested by John Cage, Fluxus, Robert Ashley, Morton Feldman, electro-acoustic music and contemporary art… and began to play music and do art…
But it took her more than 10 years to acknowledge and digest those influences… blending them with rougher materials such as noise, punk rock, drone, folk and electronic music, but also cinema from the 70’s such as Brian de Palma, Nicolas Roeg, or Dario Argento…. There’s something about a possible scary music that happens here, from a feeling she felt while listening to Pierre Henry’s ‘Apocalypse de Jean’ as a kid: something scary and beautiful in the same time….something uncanny, as Ruth White reciting Baudelaire… as a readymade ceremony.

And now let’s ask four questions to the tracklisting, and give one answer :

Against Archives / What could be the answer of a french woman in her 30’s answering to this mostly-masculine core of references?
L’oeil / What about asking a sweater or an electronic device to speak?
The book is the territory / It’s all about nostalgia : how the shifting of time changes our vision of the past and the future, like an echo or a delay ?
Carve the concept and the artichoke / Is this a waiting room? the prologue of an inexistent play or an introduction for a possible delayed climax ?
Recherche de la base et du sommet / Meaning « research of the base and the peak » in french, as a raw reading of René Char. «  There is always a lack in the accident. there is  no accident in the expression . (..) the poet is not made of wood. The mouth and the eye speak separately »

Out on March 17th, mastered and cut at D+M by Helmut Erler, out on LP / CD / DL

McCloud Zicmuse
‘The Well-Tuned Iaeniaen’ (SP054)

Shelter Press / SP054

McCloud Zicmuse ‘The Well-Tuned Iaeniaen’

Extracts

Technical

18 tracks
41 min
Pro-Dubbed Tape
2014
first edition of 100 copies

Tracklist

A1. ND_deesses
A2. ND_hollande
A3. ND_lyle
A4. ND_stuffed_leaves
A5. 11V14_Y
A6. 12VI23_pastilles
A7. 12XI18_palette_cgt
A8. 13I15_hiyashiame-ameyu

B1. 13VI03_merula
B2. 13VI16_deesses
B3. 13VI17_wycam_cap
B4. 13VII07a_planche_3_chordes
B5. 13VII15_emiette
B6. 13VII24_tria_litra
B7. 14II21_anglet_planche
B8. 13VII24a_adana_bloc
B9. 2012_ND_cocoa
B10. 13IV13_triunfador_arche

About

“The Well-Tuned Iaeniaen” is an exploration in the sonic possibilities of a family of instruments ​built by McCloud Zicmuse ​called “iaeniaens”. ​ ​Iaeniaens are constructed intuitively with available materials, usually a tin can or wooden box, a stick, a string and a couple of screws. As such they are constantly changing​.
I​n an effort to document the range of each instrument’s individual voice, ​ this recording​ concentrate​s​ on multi-tracking the one string iaeniaens, to explore the chordal and micro-tonal hazards resulting from the moiré-effect of the instrument’s imprecision.
As the iaeniaen is not susceptible to “fine tuning” as the piano is (props to Le Monte Young and “The Well-Tuned Piano”), this allows for the weakness of the instrument​,​ it’s lack of precise tuning mechanism and ​rough compone​n​ts, to be transformed into a sonic ​meditation where fragility is transformed into ​ strength.

History

The IAENIAEN was created by the sheer need to play music with limited resources.
In 2007, while on tour with ​with the project Le Ton mité, a guitar was stolen from the train in Lyon, France. This turned out to be the instrument of McCloud Zicmuse. So months later, when he found himself again in Lyon at an art residency that had no stipend, but with a lot of tools, he gathered up used guitar strings from the rehearsal studios located next door, and put together a series of rough instruments from recouperated materials: the IAENIAEN was born.
This instrument went on to become the foundation of a commercialy successful group in Belgium, a guest in many recordings and is the basis of The Instant Instrument Workshop.
​F​or more ​IAENIAEN, visit http://iaeniaen.zicmuse.com

McCloud Zicmuse

After years of intense activity in the musical and art scenes of North America, McCloud Zicmuse missed the plane that was to take him to his home in Olympia, Washington, and started to live between France, Sweden & Japan before finding roots in Brussels, Belgium. Known mainly for his work with his solo project Le Ton Mité, Zicmuse collaborates frequently with groups such as Maher Shalal Hash Baz, Microphones & Tenniscoats. He is also a bassoonist having been invited to play with Mt. Eerie, Chris Cohen, Félicia Atkinson, Half-Handed Cloud, Club des Chats & Congotronics vs Rockers, among others…
In addition to his life on tour, Zicmuse, holds workshops (how to build instruments out of garbage, creating temporary nations & making mistakes), studies and writes about folklore and co-runs with Anne Brugni a small scale gallery, publishing house, gallery, letterpress shop & hotel in Brussels.

www.zicmuse.com

Various Artists
‘Doppeldoppelgänger’ (SP053)

doppeldoppelganger-shelter-press
doppeldoppelganger-shelter-press
doppeldoppelganger-shelter-press

V/A ‘Doppeldoppelgänger’ (SP053)

Extract

Technical

17 tracks
84 min
2 LP / 33 rpm
2015
first edition of 500 copies
160grm vinyl, gatefold sleeve with artworks by Karl Holmqvist and David Jourdan.

Credits

Tracks by Aidons Antoine, Félicia Atkinson, bruant&spangaro, Benjamin Britten, Deux Filles, John Giorno, Karl Holmqvist, Lisa Holzer & David Jourdan, David Lamelas, Don Niño, Joiejoiejoie, Jean–François Pauvros, Gérard Pesson, Melissa Saint-Pierre, Anne Steffens, Jean-Claude Vannier, Potima Zen Neumann.
Curated by Vincent Romagny and David Lesimple
Mastered by Frederic Alstadt
Artworks by Karl Holmqvist and David Jourdan
Design by Bartolomé Sanson

Tracklist

A1. David Lamelas ‘Reading Film from ‘‘Knots’’ by R.D. Laing’ (excerpt)
A2. bruant&spangaro ‘OU-A-O-OUM’
A3. Benjamin Britten ‘A Ceremony of Carols, Op.28 : This Little Babe’
A4. Joiejoiejoie ‘幾度花落時‘
B1. Potima Zen Neumann ‘. . . . ..Exalt}{Recall.. . . . ‘
B2. Torture {Aidons Antoine Remix, after Karl Holmqvist}
B3. John Giorno (w/ Robert Rauschenberg) ‘Pornographic Poem’ (excerpt)
B4. Gérard Pesson ‘Nebenstück (after Johannes Brahms’s 4th Ballade )’
C1. Lisa Holzer, David Jourdan ‘RR, Relaxed Reading or The Ambient Stylistics of Tan Lin’
C2. Félicia Atkinson ‘Gothic analytics’
C3. ‘‘Minh singt sein Sehnsucht (mnong gar version)’
D1. Jean–François Pauvros ‘Cri de Coeur’
D2. Karl Holmqvist ‘Torture’
D3. Deux Filles ‘L’Intrigue’
D4. Jean-Claude Vannier ‘Browning’
D5. ‘YOUKALI’
D6. ‘GAMBANGAN’

Order / Wholesale

— BACK IN STOCK
— EU retail / wholesale via ANOST
— US retail / wholesale via FORCED EXPOSURE

About

*** A subjective compilation by David Le Simple and Vincent Romagny after the three exhibtions cycle ‘Doppelgänger’ at Ceaac curated by Vincent Romagny. ***

The double LP ‘Doppeldoppelgänger’ is a purely subjective compilation of sound works by artists (Félicia Atkinson, bruant&spangaro), sound from films by artists (David Lamelas), sound poetry and performances (John Giorno, Karl Holmqvist, Lisa Holzer & David Jourdan); of works by very different cult composers (Benjamin Britten, Jean-François Pauvros, Gérard Pesson, Jean-Claude Vannier), legendary groups (Deux Filles) and unclassifiables (Potima Zen Neuman, Joiejoiejoie); and of specially recorded reprises: Aidons Antoine mixing Karl Holmqvist, Melissa Saint-Pierre reprising Colin McPhee, Anne Steffens and Don Niño performing Kurt Weill and David Le Simple mixing « Minh singt seine Sehnsucht ».

The LP reflects the same concern that drove the exhibitions making up the Doppelgänger cycle: avoidance of thematic and formal constraints in in pursuance of shifts in the concept of the « double ». Plus an underpinning of literary texts – whence the many quotations to be found on the sleeve.

Like Gérard Pesson transcribing Brahms’s « Fourth Ballad » from memory years after hearing the work (Nebenstück); and like Robert Rauschenberg reading, along with other artist friends of John Giorno, from the latter’s Pornographic Poem on the disc of the same name: the task here is to recompose what haunts us and to repeat what moves us.

Exhibited artists

— ‘Les Séparés’, Doppelgänger 1/3 (November 2012 – January 2013)
w/ bruant&spangaro, Cécile Dauchez, Koenraad Dedobbeleer, Claire Fontaine & Karl Holmqvist, Karl Holmqvist, David Lamelas, Toshio Matsumoto, Corin Sworn

— ‘The Souls, a Twice-Told Tale’, Doppelgänger 2/3 (February – May 2013)
w/ Cécile Dauchez, Lisa Holzer, David Jourdan, Ciara Phillips, Nagisa Oshima, Denis Prisset, Chloé Quenum, Markus Schinwald, Westphalie, Lynette Yiadom-Boakye

— ‘Le Paravent de Salses’, Doppelgänger 3/3 (December 2013 – February 2014)
w/ Félicia Atkinson, Julien Crépieux, Chloé Quenum, Jérémie Bonnefous, David Lamelas, Stéphane Le Mercier, Lauris Paulus, Kijû Yoshida

Gabriel Saloman
‘Movement Building Vol.1’ (SP051)

Gabriel Saloman Shelter Press Movement Building
Gabriel Saloman Shelter Press Movement Building

Gabriel Saloman ‘Movement Building Vol.1’

Extracts

Technical

2 tracks
36 min
12′ LP / 33 rpm
2014
first edition of 500 copies
160grm vinyl, uncoated sleeve, black polylined inner sleeve

Credits

All music by Gabriel Saloman
Mastered and cut by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist

A1. The Disciplined Body (Part. 1)
B1. The Disciplined Body (Part. 2)

About

Over the past few years Gabriel Saloman has developed a reputation for releasing penetrating works of haunting beauty in his new role as a solo performer and composer. Known for his part in the seminal electronic-noise duo Yellow Swans (alongside Pete Swanson), Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding pallette of bowed strings, martial percussion and resonant piano. The majority of his work to date has been developed as music for contemporary dance, exemplified by two recent solo albums with Miasmah, 2012’s melancholic Adhere and last years celebrated ode to mud and decay Soldier’s Requiem. As he continues to prolifically produce music for dance, Saloman has developed a new series with Shelter Press to make these works available: Movement Building.

The first of two volumes to be released individually on vinyl and together on CD, The Disciplined Body is a 34 minute work that moves through ghostly minimalist drones, poly-vocal drumming and culminates in an aching climb through sheets of shimmering guitar chords before erupting in a violent spurt of harsh noise. While at its climax it may be evocative of transcendental string manglers ranging from My Bloody Valentine to Godspeed You Black Emperor, in its more subtle moments it wades through the kind of blackened water that suggests the outer boundaries of ambient metal, or the ghostly remnants of a cassette dub of beatless electronics. Composed for Daisy Karen Thompson’s “Re-Marks on Source Material”, the music shares that dance’s Foucault influenced questioning of the limits imposed on our bodies by technology and labor, reaching for an ecstatic escape from discipline and control. Listeners may want to reach for the same – to do so we suggest they play this recording very very loud.

Mastered and cut by Elmut Herler at D+M (Berlin) and pressed in a limited edition of 500 copies worldwide.

Noveller & Thisquietarmy
‘Reveries’ (SP044)

Noveller Reveries Shelter Press
noveller tqa shelter press bartolome sanson atkinson

Noveller & Thisquietarmy ‘Reveries’

Extract

Technical

4 tracks
33 min
12′ LP / 33 rpm
2014
first edition of 500 copies
160grm white vinyl stocked in a PVC sleeve with a PVC printed insert.

Credits

All music by Noveller & Thisquietarmy
Mastered by Brian Wenckebach
Design by Bartolomé Sanson

Tracklist

A1. Reverie 1
A2. Reverie 2
B1. Reverie 3
B2. Reverie 4

Order / Wholesale

— Direct order from our STORE
— EU distribution via ANOST
— US distribution via FORCED EXPOSURE

About

Reveries is the first collaborative effort of Noveller & TQA, two critically acclaimed lonesome composers welcoming us is an expanded guitar-based journey. Noveller is the solo project of Brooklyn-based composer Sarah Lipstate while Thisquietarly is Eric Quach, unstoppable globetrotting musician from Montreal. Both use the guitar as their main instrument, creating some of the most impressive, hypnotic and rich-textured electric guitar works from the past years.

Empty architecture, luminosity, rocks and deserted zones. Somewhere between Antonioni’s Zabriskie Point and Tarkovski’s Stalker, there is a walk, a wait and an epiphany.
It happened. You were not there. You just read it. Or maybe it’s the synopsis of it. It’s written on the back cover of a corned paperback that girl with the golden cap lost in the train you were just in. She was on hurry. You’ll never know its end, you just have to stick to the rocks and to the music.
Tomorrow is another day and tonight might be the night.

Recorded in January 2013 at Electric Blue Studios in Brooklyn, this new long player finds Sarah & Eric at their most luminous and aerial state, writing together layers of blissful drones resulting of a highly meditative and emotional four-parts piece.

Alex Cobb
‘Marigold and Cable’ (SP040)

Alex Cobb Shelter Press
Alex Cobb Shelter Press

Alex Cobb ‘Marigold and Cable’

Extract

Technical

4 tracks
33 min
12′ LP / 33 rpm
2014
first edition of 500 copies
180gr black vinyl

Credits

All music by Alex Cobb

Maxwell Croy of EN plays Koto on track 3

Mastered by James Plotkin
Photography by Miwa Kondo

Cut to vinyl by CGB at D+M (Berlin)

First 100 copies include a chapbook of poetry written specifically for the record by Peter Gizzi

Tracklist

A1. Famosa
A2. Rain At The Fete
B1. Oversong
B2. Marine Layer

Order / Wholesale

— Direct order from our STORE
— EU distribution via ANOST
— US distribution via FORCED EXPOSURE

About

« Marigold and Cable » marks an indelible new phase in the trajectory of Alex Cobb’s solo recordings and prior missives as Taiga Remains.

The album’s four compositions are streamlined and focused, finding a balance between studied contours and compositional intuition. Tints of early Stars of the Lid and Kevin Drumm’s lambent drones are apt starting points, but Cobb routes them through a live set up without the aid of loops or synthesizers.

« Marigold and Cable » is heavy with meaning and intent, but buoyant and almost tender in execution, allowing filtered harmonies and veiled melodies to waver and sparkle amid clouded atmospherics. On « Rain at the Fete, » Cobb wrings his guitar through processing that transforms the instrument into shadowy piano notes and smudged choral works. Later, Maxwell Croy of EN weaves koto lines throughout « Oversong » to stunning effect. The album was recorded during late spring in coastal southern California, in which cool temperatures and overcast skies belie the region’s usual warmth and sunshine. Cobb uses this weather pattern to inform « Marigold and Cable, » an album that is perhaps the signal accomplishment in his lengthy resume.

Mastered by James Plotkin, pressed on 180grm black vinyl, in a limited edition of 500 copies worldwide

Ben Vida
‘Slipping Control’ (SP038)

Ben Vida Slipping Control Shelter Press
Ben Vida Slipping Control Shelter Press
Ben Vida Slipping Control Shelter Press

Ben Vida ‘Slipping Control’

Extracts

Technical

21 tracks
35:37 min
12′ LP / 33 rpm
2014
first edition of 500 copies
color cover + printed inner sleeve + double sided insert
140gr black vinyl

Credits

All music by Ben Vida
With contributions of Tyondai Braxton and Sara Magenheimer.

Mastered by Helmut Erler at D+M
Design by Bartolomé Sanson

Tracklist

A1. Slipping Control part 01
A2. Slipping Control part 02
A3. Slipping Control part 03
A4. Slipping Control part 04
A5. Slipping Control part 05
A6. Slipping Control part 06
A7. Slipping Control part 07
A8. Slipping Control part 08
A9. Slipping Control part 09
A10. Slipping Control part 10
A11. Slipping Control part 11
A12. Slipping Control part 12
A13. Slipping Control part 13

B1. Slipping Control part 14
B2. Slipping Control part 15
B3. Slipping Control part 16
B4. Slipping Control part 17
B5. Slipping Control part 18
B6. Slipping Control part 19
B7. Slipping Control part 20
B8. Slipping Control part 21

About

Slipping Control is Ben Vida’s new LP.

Slipping Control derives from the text piece « Tztztztzt Î Í Í…. » wrote last year by Ben Vida (and published as a book by Shelter Press).

Composed to act as a score, a sound piece and as raw data for electronic control source, Tztztztzt Î Í Í… became the intrinsic element that tied some different pieces of art made by Ben Vida and presented at the eponymous show at AVA Gallery (NY, USA) in april 2013.

» I was interested in the rhythm of speaking, interested in using the voice to create rhythmic patterns that would inevitably break out of time and become asymmetrical and awkward. I wanted to create one set of control sources (the text) and run them through a bunch of different systems (the video, the book, the record etc) and see how the original source material morphed and changed as it manifested in these different modalities. The process of developing each unique work involved setting of control paths for the text to be processed though. In terms of this path the first step after writing the text was to find the primary filter of interpretation and translation that would start this process of slipping control – and this is where Tyondai and Sara come in… »

A Control Path may look something like this:

Text > Performer/Vocalist > Voiced Recording > Electronic Analysis > Reconfigured

Text > Audio Synthesis > LP Record.

Or maybe like this:
Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation.

Or this:
Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation > Color Field Panel Display.

Or more simply:
Text > Poster

Mastered and cut by Helmut Erler at D+M,
Pressed at Pallas in an edition of 500 copies worldwide.

Ben Vida is a Brooklyn based composer, improviser and artist. He produces compositions that utilize analog and digital synthesizing technologies and focus on aural phenomena and auditory illusions. He has released records with PAN, ALKU, Thrill Jockey, Drag City, Amish, Bottrop-Boy, Hapna and Kranky. As both a solo artist and in collaboration he has presented his work in the United States, Canada, the United Kingdom, Europe, Australia, South Korea and Japan.

Alahuta
‘A Hack In The Woods’ (SP037)

Shelter Press
Shelter Press

Alahuta ‘A Hack In The Woods’

Extract

Technical

6 tracks
34 min
Pro-Dubbed Tape
2014
first edition of 150 copies

Tracklist

A1. Past Lives
A2. Chance
A3. Little Girl

B1. Hinds & The Raw Dear
B2. The Poison

About

Alahuta is the solo outlet of Aurélie Vivier, french folk singer based in the altantic northwest. Following on a demo cdr selfreleased last year, « A Hack In The Woods » is the first EP of the artist. This 5 tracks EP is the studio document of her solo acts played last year all over Europe.

Starting as a very late-night folk record, A Hack In The Woods draw us a path to the dawn, seeing Alahuta spinning a powerful mesmerizing vocals over delicate loop of guitars & organs. Like a possible chanting sister soul of Emily Dickinson and Charlotte Bronte, a possible turning-tables companion of Victor Hugo, Aurelie Vivier use the voice as a pure connexion with nature forces, invisible spirits and shining elements.

A deep, very “out of time” first EP, a step beside any contemporary trends, meanwhile echoing the tones of a Ruthan Friedman or a Linda Perhacs camping near Thoreau’s walden pond.

High Wolf
‘Freedom or Death’ (SP032)

Shelter Press High Wolf
Shelter Press High Wolf

High Wolf ‘Freedom or Death’

Extract

Technical

2 tracks
30 min
Pro-Dubbed Tape
2013
first edition of 150 copies

Tracklist

A. —
B. —

About

First Shelter Press effort from our long time brother High Wolf. Featuring two sides of unleashed improvisations.

Good / Evil
Cocaine / Salad
Man / Dog
Fridge / Freezer
Doing it / Winning it

Freedom / Death

Chicaloyoh
‘Folie Sacrée’ (SP030)

sp030 Chicaloyoh Folie Sacrée Shelter Press

Chicaloyoh ‘Les Sept Salons’

Extracts

Technical

8 tracks
38 min
12′ LP / 33 rpm
2013
first edition of 500 copies
180gr black vinyl

Release date: Sept. 15, 2013

Credits

All music by Alice Dourlen (as Chicaloyoh)

Mastered by James Plotkin
Image by Nick D. Wood
Design by Bartolomé Sanson

Tracklist

A1. All The Nights
A2. Gloves And Tie
A3. The Skeleton
A4. The Sun’s Path
B1. A Man In A Street
B2. Look My Eyes
B3. Turn Into Windy Sand
B4. Gancel

About

Folie Sacrée is the debut full length record of Chicaloyoh, musical incarnation of Normandy resident Alice Dourlen. Creating music between soundscape exploration and intimate contemplation, Chicaloyoh is a mix of guitar, keyboards and percussions from distant and various horizons.
The album has been recorded deep in the wood in the artist’s very own Chaudelande studio during the spring of 2013. Attracting those who like the priestess singings of Grouper or french legend Catherine Ribiero, Folie Sacrée is a beautiful exploration in ambience and darkness recalling the mysticism of Popol Vuh and the late-night incantations of Nico.

Currently touring the UK with Sylvester Anfang’s BBLL, she will cross the sea for the second time for an extensive US tour with High Wolf in september 2013.

Singing with an almost pastoral verve, the minimalist and intimate soundscapes of Chicaloyoh combined with her simultaneously tender and strong voice are the foundation for her avant-garde mantras.
Mastered by James Plotkin and press on 180gr black vinyl, Folie Sacrée stood has a stunning document of the celestial awaked nightmare from one of today’s most exciting french musician.

Painted Caves
‘Surveillance’ (SP029)

sp029 Painted Caves Surveillance Shelter Press

Painted Caves ‘Surveillance’

Extracts

Technical

7 tracks
32:29 min
12′ LP / 33 rpm
2013
first edition of 500 copies
180gr black vinyl

Release date: Oct. 15, 2013

Credits

All music by Evan Caminiti (as Painted Caves)

Mastered by James Plotkin
Design by Bartolomé Sanson

Tracklist

A1. Never Alone
A2. Flesh On Tape
A3. Leningrad
A4. Event Boundary
B1. Shadow Gamelan
B2. Loft Life
B3. Stalker

About

Painted Caves is Evan Caminiti. Surveillance is his debut LP under this alias.

Primarily sourced from modular synthesizer, Surveillance compiles 7 tracks recorded over the last year, warped with cassette tapes and other digital tools. Beamed in like a scene from Videodrome, this sensual brand of dystopian psychedelia creates a grainy and tension filled narrative to get lost in.

Much of Caminiti’s past work has inhabited a world of it’s own, but Surveillance is a direct response to life in an American city today. Inspired by the darker aspects of the constantly plugged in digital age, this album seems to turn feelings of alienation and paranoia into something cathartic. Lying somewhere between no wave dystopia and basic channel minimalism, heavy grooves and polyrhythmic percussion lay a foundation for bell like drones and decaying saw wave mantras which fade into rhythmic abstraction as distant choirs and flickering static interference hovers around the edges.

Terence Hannum
‘Spectral Life’ (SP025)

Shelter Press / SP025
Shelter Press / SP025
Shelter Press / SP025

Terence Hannum ‘Spectral Life’

Extract

Technical

2 tracks
30:00 min
12′ LP / 33 rpm
2013
first edition of 400 copies
180gr black vinyl

Credits

All music by Terence Hannum

Mastered by James Plotkin
Design by Bartolomé Sanson

About

Debut LP of one third of avant drone metal outfit Locrian. Contemporary artist / musician Terence Hannum is back on wax with two side of meditative and sonic cathartic noise torrents.

Following on a dozen of highly regarded solo tapes and cdr, Spectral Life follows the artist through 2 tracks of electronic and acoustic drones blending in the most efficient way all the previous works of the artist.

While the A side is made of short different synth-driven pieces blended together in an immense opening track, the B side brings us in an extensive immersive psychedelic journey.

Standing as a deep emotional sonic ceremony, this new record draws Hannum at his best, finding his influences from the avant spectrum of black metal as well as bits of modern composition.

Tracklist

A1. Invocation of Deities
B1. Total Dissolution

Félicia Atkinson
‘With Her Own Hands’ (SP024)

Felicia Atkinson With Her Own Hands Shelter Press
Felicia Atkinson With Her Own Hands Shelter Press

Félicia Atkinson ‘With Her Own Hands’

Stream

Technical

1 track
18;30 min
oneside 12′ LP / 33 rpm
2013
first edition of 100 copies
splatter vinyl (50 copies on dark clear blue with a hint of gold
and 50 copies on gold with a hint of black)

Credits

All music by Félicia Atkinson
With Her Own Hands is a limited edition vinyl published for the exhibition L’attraction Minérale, Toulouse, may 2013. Edition of 100 copies.

Tracklist

A1. With Her Own Hands

About

« Let’s say it’s a narrative drift, the last whisper of an Ophelia lost in the shore, some sounds escaping from a broken window, a « vague a l’ame » caught in the syphon, some breads unknotted by mistake.

You know, a one side vinyl is a kind of second- handed moon, shining in the dust of thrift store, belonging to a suburban galaxy: you might need to hitch hike and lose you left shoe to travel in time.

18 mn or so, it’s a walk from home until the bridge, 9 subways stations, 25 kisses, an apple crumble baking in the oven, a summer nap, 3 extra minutes before being tired of waiting.

It’s a gem, a glass eye, a melting ice cube, a lost tooth, a traveling secret, a kind of chanting ring. »

Félicia Atkinson, september 2013

Keith F. Whitman / Floris Vanhoof
‘Jardin electronique {BW} De Karekiet van Karakas’ (SP017)

SP017 KEITH FULLERTON WHITMAN FLORIS VANHOOF SHELTER PRESS
SP017 KEITH FULLERTON WHITMAN FLORIS VANHOOF SHELTER PRESS

Keith F. Whitman / Floris Vanhoof ‘Jardin electronique {BW} De Karekiet van Karakas’

Extract

Technical

5 tracks
38 min
12′ LP / 33 rpm
2013
first edition of 400 copies
180gr black vinyl

Credits

All music by Keith Fullerton Whitman (side A)
All music by Floris Vanhoof (side B)

Mastered by Rashad Becker at D+M
Artcover and silkscreen by Hanna Geise
Layout Bartolomé Sanson

Tracklist

Keith Fullerton Whitman
“Jardin electronique”
A1. Automatic Ping (3:00)
A2. Automatic Melody (3:00)
A3. Automatic Drums (3:00)
A4. Automatic Drums with Melody (9:00)

Floris Vanhoof
B1. De Karekiet van Karakas (19:31)

About

New split 12′ between two modular experimentalists stretching the world map for this split release. While Keith Fullerton Whitman comes with one of his more accessible / danceable piece to date, Floris Vanhoof had full reign to record a dark and hazy drone piece for the flipside. Using purely analog synths, both build very unique although complementary compositions.

Keith Fullerton Whitman – you already know him – is an American electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock.
Making music since the 90′, he started recording using his own name in 2001, and most of his work recorded today is under that name. He studied computer music at Berklee College of Music, where he was exposed to modern electronic music composition and synthesis. Whitman has released albums on many labels such as Edition Mego, PAN, Kranky, Root Strata, Planet Mu.

Connecting his many worlds, ideas and influences into highly personal pieces, everything Floris Vanhoof put his hands on turned into a highlight. Not only his solo LPs on Ultra Eczema and Kraak, but also an extensive list of stunning performances.
In his live shows Vanhoof links new visual ideas to his idiosyncratic musical performances in which homemade synthesizers, exceptional ebay acquisitions and a personal framework are forged into an impressive whole. One of the most versatile and creatively liberated artists in Belgium.

Je Suis Le Petit Chevalier
‘Dark Morse’ (SP015)

Shelter Press / SP055
Shelter Press / SP055

Je Suis Le Petit Chevalier ‘Dark Morse’

Extract

Technical

6 tracks
38 min
Pro-Dubbed Tape
2013
first edition of 200 copies

All music by Félicia Atkinson

Tracklist

A1. Drying in Abou Dhabi
A2. Esmeralda on the lake
A3. Broken drum

B1. The names
B2. The war
B3. The slum nun

About

Je Suis Le Petit Chevalier’s Dark Morse is an exclusive lost tape inspired by the short story The Angel Esmeralda written by Don Delillo. Following two LPs and bunch of tapes dropped last year, this new output is her most whispering beat orientated material to date.
Dark Morse is a tabu hidden at the end of a lost road in the suburbs, a pile of crawling concrete, burried under sub basses, broken rhythms, drunken lullubies for blind dogs.
Je Suis Le Petit Chevalier whispers here holy encounters with dark shades moving at dawn, hoarse prayers, slum saints and never growing ghosts children….

“Sister Jan said, I don’t know. Of course you know. You know. You saw her. I don’t know what I saw. You know. Of course you know. You saw her. “ (Don Delillo, The Angel Esmeralda)

Ensemble Economique
‘The Vastness Is Bearable Only Through Love’ (SP014)

Shelter Press / SP009
Shelter Press / SP014

Ensemble Economique ‘The Vastness Is Bearable Only Through Love’

Extract

Technical

3 tracks
31 min
12 LP / 33 rpm
2012
first edition of 400 copies
180gm blue vinyl

Credits

All music by Brian Pyle

Artwork by Julien Langendorff

Tracklist

A1. The Vastness Is Bearable Only Through Love
B1. All That Remains Is Dark Sky
B2. Something New Is Happening

About

New LP from Ensemble Economique, aka Brian Pyle, 1/2 of Humboldt avant abstractionists Starving Weirdos and RV Paintings. We’ve long loved the SW’s sprawling rhythmic dronescapery, and on his own, Pyle explores similar sonic territory, but Pyle’s approach sans partners seems to be more dense and dark, caustic and abrasive, the rhythmic element balancing the atmospheric elements, like here on the title track, which spreads out over all of the first side. A thick, swirling low end thrum oozes and undulates, it’s a hazy blurred rumble, over which Pyle layers heaving shards of crunch, thick throbs, deep bell-like tones, rhythmic machine gun stutters, all of which pile up and overlap, creating a soft cacophony of clatter and crunch, chug and churn, a strangely haunting, and sorta noisy, almost industrial creepscape, that sounds like some weird hybrid of Wolf Eyes, Philip Jeck and Umberto performed by some strange robotic minimalist chamber ensemble. A swirling, heady, and darkly psychedelic barrage of loops and rhythms, layers and textures, mesmerizing and intense.
The flipside is another permutation of Pyle’s abstract beat laden drones, another thick swirling morass of sitar-like buzz and sci-fi synth squelch, this time the beats buried, little flurries of stutter and shuffle, squalls of glitchy tangle, more coloring the proceedings than driving them. The last track is a tense soundtracky stretch of layered buzz, haunting melody, a sprawl of pulsing high end over deep ominous rumbles, like the music from the scariest moment in some lost Italian giallo, stretched out into minutes instead of seconds, all tension, no release, brooding and intense, haunting and mesmerizing, fantastic stuff. (AQ)

Vallens
‘dvvllxns’ (SP009)

Shelter Press /
Shelter Press / SP009

Vallens ‘DVVLLXNS’

Extract

Technical

4 tracks
19:00 min
12 LP / 45 rpm
2012
first edition of 400 copies
180gm vinyl

Credits

All music by Jon Porras
Mastered by James Plotkin
Cut at D+M

Tracklist

A1. Litany
A2. Xochitl
B1. Entropy
B2. Espejo

About

Shelter press is pleased to introduce the first EP by VALLENS, aka Jon Porras (one of the two kings of the californian Barn Owl kingdom).

Vallens explores the intersection of minimal rhythms, analog processing and grayscale atmospherics. Jon Porras has released solo albums on labels Root Strata, Immune Recordings and Thrill Jockey. His layered, multidimensional methods evoke the opaque serenity of the foggy SF landscape and work to depolarize forces of light and dark.

With his new electronical project VALLENS, Jon Porras opens the thresholds of burning galaxies, celestials thoughts and dark planets. Like a twisted elegy to Isabella Rossellini in Blue Velvet, the folded beat of an empty motel room with a distant Tv whisper, like crispy snow falling in july, a car race in the magnolia night, Litany predicts some cosmogonic catalcysm that a muted Cassandra could mime.

Feel the hurricane, the speed, the devotional speed of geometries, the language of signs.

Je Suis Le Petit Chevalier
‘An Age Of Wonder’ (SP002)

sp002-a
Shelter Press / SP002
Shelter Press / SP002

Je Suis Le Petit Chevalier ‘An Age Of Wonder’

Extract

Technical

2 tracks
38 min
12′ LP / 33 rpm
2012
first edition of 400 copies
180gr green vinyl

Credits

All music by Félicia Atkinson

Mastered by Pete Swanson
Coreleased with La Station Radar
Design by Bartolomé Sanson

About

From the time when the sun and the moon didn’t have a name, hidden in a garden with statues talking in silence, telling a secret path that leads to the bravest love…
Inspired by the Amish Community, the northern wisconsin sunsets and the indian summer in Belgium, Je Suis Le Petit Chevalier recorded An Age Of Wonder between Belgium and Ohio between July and August 2011, filled with golden summer hazes, voluptuous thoughts, and august storms.

Tracklist

A. Fever Dunes
B. The First Forest

Pete Swanson & Rene Hell
‘Waiting For The Ladies’ (SP001)

SP001 Pete Swanson Rene Hell Waiting For The Ladies Shelter Press

Pete Swanson & Rene Hell ‘Waiting For The Ladies’

Extracts

Technical

4 tracks
31:04 min
12′ LP / 33 rpm
2012
first edition of 520 copies
160gr black vinyl

Credits

All music by Pete Swanson (side A) and Jeff Witscher (side B)

Mastered by Pete Swanson
Design by Jeff Witscher

Tracklist

A1. Pete Swanson – Self Help
B1. Rene Hl. – Walking In Tune
B2. Rene Hl. – Bending (Voice)
B3. Rene Hl. – Glass (Coke)

About

Vinyl reissue of the massively limited split LP from Yellow Swans’ Pete Swanson and darkened Kosmische operator Rene Hell, who each supply a side of new music.

On Swanson‘s side, rhythmic electronic signals clear the debris after a few introductory minutes of his signature noise-wash, cycling through nervous patterns of hum before the detritus starts to very incrementally build up again. It’s in these more methodical moments that you get to hear a side of the Yellow Swan that’s seldom made this explicit. Largely devoid of the fiery plumes of feedback that constitute so much of his discography, for some stretches, ‘Self Help’ captures Swanson in nurturing mode, coaxing the rhythmic qualities of his music to the forefront, eventually developing a kind of noisy, metronomic snare sound before the whole thing comes crashing down once again, this time under the weight of a flood of scourging drones. Finally, Swanson’s fizzy, electric pulse returns to usher out the side-long piece.

On the flipside we find Rene Hell following up on the cosmic analogue excursions of his Porcelain Opera LP with a side full of hardware-driven synthetic vistas. Right up there with contemporaries like Emeralds and Oneohtrix Point Never, Hell (real name Jeff Witscher) spends his side constructing the kind of intense, pastoral sci-fi sound worlds that could have been plucked from forty years in the past, or for that matter, forty years in the future. (Boomkat)