Earn 1 Loyalty Point With Every $1 Spent!

With (Junk-Saucepan) When (Spoon-Trigger) (Vinyl)

With (Junk-Saucepan) When (Spoon-Trigger) (Vinyl)

BY Mahogany Brain

(Customer Reviews)
$26.00
$ 15.60
SKU: FFL005
Label:
Souffle Continu Records
Category:
Avant Garde/RIO
Add to wishlist 

"Souffle Continu Records presents the first official vinyl reissue of With (Junk-Saucepan) When (Spoon-Trigger), Mahogany Brain's 1971 debut album. This LP is the second in Souffle Continu's series of ten reissues from the catalog of the cult French label Futura Records, fully licensed by Futura founder Gérard Terronè. Mahogany Brain was led by street poet and underground filmmaker Michel Bulteau and Patrick Geoffrois, and shared a raw aesthetic with The Velvet Underground fully realized on this album's savage and unhinged songs, built upon distorted guitars and crude lyrics. Presented in a gatefold sleeve with obi strip and matte finish."

"1971 is a definitely one of innovative years for progressive rock, especially Krautorkc scene, let me say.
It's said MAHOGANY BRAIN were a musical representation by a French poet Michel BULTEAU, in collaboration with lots of studio musicians, and I guess this album "With (Junk-Saucepan) When (Spoon-Trigger)" can be considered as a Michel's one-man show with instruments launching flexible, improvisational sound spice here and there.

The core of this album is produced with quite unrefined, scattered sound effects based upon Michel's funky, funny, and cheesy voices and meaningless word obscurity. Easily imagined that he might have played with making self-assertion one-sidedly like usual French theatres or movies, but mysteriously, his fishy words / lyrics can be pretty harmonized (of course fragilely!) with instrumental improvisation around him, that may be heard as a loose session with lazy percussion, a deep-flavoured bass, a sharp-edged violin, a trip-hopping piano, an easygoing guitar, and a crazily crying flute (played by Michel). And more mysteriously, these eccentric sounds / tunes can strike just a chord in our minds and absorb us comprehensively ... yes, this phenomenon should be mentioned as an innovation born in 1971.

"With (Junk-Saucepan) When (Spoon-Trigger)" is one of miracles not only in French rock scene but also in Krautorck. Not easily recommended for every melodic Krautrock fan who likes Amon Duul II or Can, but his trippy, holier-than-thou attitude for rock can be told from generation to generation I guess ... a bit overeastimated? No, no, a classic one." - ProgArchives

There are no review yet. Be the first!
You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • "Over a nearly 35 year-long career, Miriodor have continuously produced music that is intricate, melodic,challenging and filled with both humor and fire. Their albums are captivating new-music gems filled with great musicians, terrific tunes and a distinctive and personal sound.Miriodor have performed in front of thousands of listeners at major music festivals in North America and Europe.Cobra Fakir is the group's eighth studio album."
    $15.00
  • "Skewered blasts of noisome, Red metal shatters through rough and tumble landscapes of shuddering percussion, ominous, gravelly basslines and wheezing synths. An all-instrumental bulldozer of an album..." – i/eHappy Family first appeared in the early 1990s as part of the explosion of exciting, underground bands that came roaring out of Japan at that time, such as Ruins, Bondage Fruit, Tipographica and Boredoms.An instrumental quartet of keyboards, guitar, bass and drums, they released two albums of over-the-top, metal, King Crimson & Magma influenced avant-progressive rock for Cuneiform Records in 1995 (Happy Family) & 1997 (Toscco) and then fell silent...until now!Reforming with 3 of the 4 members of the group who appeared on Tossco:Kenichi Morimoto - keyboardsTakahiro Izutani - guitarKeiichi Nagasse - drumsand with new bassist Hidemi Ichikawa, 15 years later, they are back with a fantastic new release, Minimal Gods, and just as heavy and intense as they ever were and they still sound like no one else except Happy Family!
    $15.00
  • “Loomings was born under the impetus of Jacopo Costa, an Italian musician living in Strasbourg, France. Thanks to the vitality of the local music scene, he has the opportunity to realize his creations with the help of several musicians with varied artistic backgrounds. The voices of Maria Denami and Clara Weil - one from the lyric repertoire, the other rooted in contemporary music - add to the jazzy groove of Nicolas Klee (electric bass) and Nils Boyny (keyboards), as well as to the percussion and electronic machines of Enrico Pedicone and Jacopo himself: the result of this cross, at once poetic, ironic and powerful, invites the most adventurous spirits to discover new sound territories. Main man Jacopo Costa also plays occasionally with French band CAMEMBERT and has collaborated with Italian band band YUGEN for a while. This is their second album (their first, Everyday Mythology, was issued by AltrOck in 2015). This new album shows an obvious influence from Frank Zappa (both stylistically & vocally) and, in a much lesser extent, from Henry Cow (Dagmar era). Subtle songwriting from Jacopo on the 11 tracks, with odd arrangements.With their songs halfway between rock, contemporary music and ... something else, Loomings invades the ears with unique sounds. Their musical references belong to the experimental pop-rock tradition: from Beatles to Rock in Opposition to Zappa and Prince. Thus the repertoire of Loomings translates especially in a desire to go further on the road indicated by these "pioneers", not to go backwards.“Zappaian RIO” (..not so far from the recent Camembert album!) could possibly be the best definition of this album.”
    $17.00
  • "After the stellar debut just a year prior, Le Grand Sbam comes back with their second effort, Furvent. The ensemble has grew with two new members now, including additional female vocal, keyboards (Rhodes/Moog Little Phatty) and cimbalom, and the cimbalom is an especially prominent part of Furvent's sound, bringing tons of oriental flavour into the mix. The first time around The Grand Sbam felt to me like a cross between an avant- garde prog band with a travelling satiric theatre, whereas now it feels like a real, proper contemporary music ensemble. In any case, let me tell you: the Sbam is more Grand than it ever was! "La trace" opens up with an endless cascade of syllabes, and that's exactly what I want! Just so... so many beautiful syllabes! Let me tell you right away: the usage of human voices on this album is out of this world. The piece starts off very dense and rapid, but you will quicly find there is quite a lot of room for quiet, atmospheric moments, which I really like. I can feel I'm in an another universe, it's so god damn immersive. Overall, the suite is very much melodic and graceful, with some neat instrumental surprises (like an up-tempo vocal jazzy run or electronic, moody, Gwyn Wurst-style part towards the end) and dramatic vocals. And the coda, oh man, the coda sends me to the moon. Fantastic, magical, hats off! "Nephèsh" is definitely my favourite piece on the album. It's not as massive or dense as "La trace", as it features only piano and group vocals. However, it's been stuck real hard in my head ever since I've heard if for the first time. The vocals are so lush and beautiful, I love every single voice: from high, melodic and dancy females to low, rhythmic and sarcastic males. It actually brings tears to my eyes, believe it or not. And Antoine Arnera's piano playing here, MY GOD!!!!! He's been my favourite keyboard player for a while, but what he does here is absolutely outstanding! So fast, yet so full of grace and feeling. His style is truly unique and awe-inspiring, and "Nephèsh" is a 1000% piano killer. I literally can't overstate how much I love it. I'd actually go as far as to say that this is one of the most favourite pieces of music I've heard in my life. Stunning, ravishing, unexplainably magical. I love it, love it with all of my soul!"Yi Yin" is the main soundgrinder of the album, divided into eight parts and taking over half of the album. The piece is... well, it's massive alright. Gargantuan even. Very experimental, written so densely, I can't fully comprehend. Packed with many different moods, from dark and gloomy creeping chamer-zeuhl combo ("Les morts vont vite" by Shub-Niggurath comes to mind) to fast, wicked avant-prog a'la U-Totem's self-titled debut. I'm especially stunned by the endless supply of ridiculously complicated rhythms - stuff you'd expect to hear on a modern/contemporary music release (which, in its own way, Furvent really is). The composition is simply outstanding, some of the most impressive rock music ever had to offer. I stare at it in awe. How can you even write this stuff?!"Choon Choon", hahaha! After nearly an hour of musical terror the band says "farewell" to the listener with a short, simple, sweet and dancy song. Very unexpected indeed. I'm gonna be completely honest - I don't really care for the song all that much, though I see it as a sweet, little cherry on the top: a refreshing aftertaste, if you will. Lovely, lovely.Thanks to the kind people at Dur et Doux I was actuallly able to listen to the album long before even my pre- order CD arrived, and let me tell you: I will probably remember my first listen for the end of my life, it was really special. Truly a spectacular, fresh new way of combining zeuhl, avant-prog, contemporary music and many more influences. I would like to thank the band for making this record become a part of my life. Let's hope by the next release they're gonna grow into a full-sized symphonic orchestra (or at least get a bassoon player, that would be neat)! Whatever future brings, I'm waiting furiously. Vive le Sbam!" - ProgArchives
    $16.00
  • "From Guapo’s origins as an artsy noise-rock duo in the 90s to their current standing as a quartet, founder and drummer Dave Smith has steered clear of cliché and compromise. Albums such as Five Suns (2004), Black Oni (2005) and Elixirs (2008) chronicled the trio incarnation of Guapo’s attempts to define and expand a musical vocabulary rooted in a stripped-back, somewhat aesthetic RIO-style chamber ensemble.Yet as striking as these albums were, in hindsight they were but a preamble to 2013’s The History Of The Visitation. This marked a significant line-up change that saw Smith and bassist James Sedwards joined by ex-Cardiacs man/future Gongster Kavus Torabi and Chrome Hoof keyboard player Emmett Elvin. It also saw Guapo embrace a more demonstrative, gutsy rock aesthetic.That boldness continues on Obscure Knowledge, a single, continuous, 43-minute suite. The band’s take-no-prisoners attitude is obvious from the word go. The album opens with a four-note bass motif ascending through a blizzard of cymbals and fractious, sustained keyboard tones. When soaring guitar and circuitous MC Escher-esque organ riffing erupts and takes flight, there are moments where we get the answer to that burning question: what would Mahavishnu Orchestra and Van der Graaf Generator have sounded like if they’d ever joined forces? The suite evolved from the band’s weekly rehearsals wherein each section was slowly accrued from a process of trial and error and selective pruning. This isn’t cerebral jazz-rock; more scarily belligerent minimalism.After the initial airburst of establishing themes across a Fender Rhodes morse code tapped out by Elvin, Kavus Torabi strikes one ominous guitar chord more than 60 times in the space of five minutes. Wilful and provocative, it’s like a musical dare to see who is going to blink first. With each of those tolling repetitions there comes a sense of escalating pressure and constriction, an expert raising of the temperature inexorably leading to bursting point.Breaking down and reassembling as each new segment in the piece is introduced, Guapo’s restlessness is only stilled in the midst of some teeth-scraping sonics over halfway through the album. Even here, the fierce drones fluctuating with La Monte Young-style sonic whispers offer little respite.Unflinchingly adventurous and every bit as brilliant as its predecessor, Obscure Knowledge not only consolidates Guapo’s progress but sets the benchmark by which others can be measured." - Prog
    $15.00
  • "Despite it’s title, This is NOT the end, is, indeed, the final release by the legendary Rock In Opposition band Present, as founder and composer Roger Trigaux died during its recording. The final result is blindingly precise works of syncopated instruments, all seemingly coming from different angles but ultimately working together as a cohesive, if powerfully overwhelming whole. Trigaux admits that “I use lengthy repetition and polyrhythmics to push not only the listener but myself to a paroxysm on the intensity.” In this sense, Trigaux’s music can be compared to that of the late Nigerian rock musician Fela Kuti, who gradually built his lengthy songs through repetition and rhythm to generate a visceral experience, and whose live performances were legendary. Also like Fela, Trigaux’ music has an intellectual, thematic subtext, hidden beneath the music’s physical sound. All the instrumentalists contribute mightily and this is absolutely a group effort of tremendously impressive, rehearsal-intensive rock, and, very sadly to me, possibly the last of its kind. ""This project took 5 years. Roger died in the middle of its creation, the finalization of which was taken care of by Pierre Chevalier, Kurt Budé and Udi Koomran. But the work is accomplished." – Michel Besset [Roger's long time friend and producer of This is Not the End]Roger Trigaux – keyboard, vocal, compositionFrançois Mignot – guitarPierre Chevalier – piano, keyboards, vocalDave Kerman – percussionKeith Macksoud – bassKurt Budé – sax, clarinet, bass clarinetLiesbeth Lambrecht – violinUdi Koomran – sound
    $15.00
  • "Univers Zero's new album follows the lineage of Phosphorescent Dreams, originally released only on CD in Japan in 2014, and reissued as an LP on the Sub Rosa label in 2019. Lueur is the fruit of two years' work and reflection, the foundations of which were laid by Daniel Denis (keyboards, drums, percussion), then enriched by the contributions of Nicolas Dechêne (guitars), Kurt Budé (clarinet / bass clarinet) and Nicolas Denis (bass, percussion, vocals), all three present on Phosphorescent Dreams. With this reduced line-up, Lueur offers a dense journey, rooted in the balance between power and calm, raging and serene sound. A balance, too, between complex arrangements and more contemplative moments. While this album continues the avant-rock tradition of Univers Zero, it also features some very short pieces, more electronic, tribal and haunting sounds, and voice work that is new to the U.Z. universe. Between tradition and subtle evolution, Lueur is a major new contribution to the discography of this band, which will be celebrating its fiftieth anniversary in 2024. Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music -- most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent."
    $17.00
  • ""Two years after Iridule, finally the italian band Yugen comes back with its first live album. The cd captures the show at RIO Fest 2011, in Carmaux, France, and presents the group in an extraordinary seven-member line-up.As Sid Smith writes in the liner notes, Mirrors is "a dizzying cavalcade of turn-on-a-dime rhythms, intriguing harmonies and striking, anthemic melodies that have a habit of drilling down deep into the consciousness of the listener"."Yugen represents an exciting forward-looking trend in European music", Smith underlines, "marrying both intellect and emotion in one seamless and coherent partnership. How successful they are in this endeavour you can judge for yourself by playing this remarkable and frequently thrilling live souvenir.""
    $15.00
  • "Norwegian avant-garde rockers Panzerpappa are back with their 7th album "Summarisk Suite". The band was in the process of composing material for a new album, and to shorten the gap between the “Pestrottedans” and the new one, they wanted to release an EP. But instead of finishing the material they were writing and rehearsing, Panzerpappa decided to do something completely different and start from scratch and record all-new material. Therefore, the material for this album has very different origins. Parts are old sketches that have been collecting dust in a drawer for decades, others are brand new. There is even one piece that is totally improvised (Belgerisk improv), something Panzerpappa haven't done for any of their previous albums."
    $15.00
  • "Wewantsounds present a first time reissue of Sunrise From West Sea, Stomu Yamash'ta's cult LP originally released in 1971. A deep, cosmic, at time ambient performance recorded live and featuring two other Japanese legends: Takehisa Kosugi from the Taj-Mahal Travellers and jazz pianist Masahiko Satoh. The line-up also included Hideakira Sakurai on electric shamisen. Stomu Yamash'ta has been hailed as one of the best percussionists in the world by John Cage. Yamash'ta and Satoh recorded the landmark album Metempsychosis for Nippon Columbia in 1971. 1971 was also the year Yamash'ta released his highly-acclaimed Red Buddha solo album which was released in Europe and in the US. Inspired by the Metempsychosis experience Yamash'ta set to recreate the flowing energy of the album in a live setting with a smaller line-up. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, just a few days after the end of the Red Buddha recording sessions, the all-night concert was recorded in front of an invite-only audience consisting of friends and musicians. Yamash'ta enrolled Satoh on keyboards together Taj Mahal Travellers leader Takehisa Kosugi, whom he'd met through his mentor, Japanese composer Toru Takemitsu. Hideakira Sakurai on electric shamisen was also added the lineup. Edited down to fit two sides of an album that will become Sunrise From West Sea, the performance is both hypnotic and ethereal. It starts with Kosugi's distinctive electric violin and develops into a deep, spiritual free form conversation between the four musicians, giving them all the space they need to freely improvise and interact with each other, mixing electronics, percussion, electric organ, and shamizen without ever clashing. The interaction alternates between quiet, tranquil Eastern meditations and more paced parts, fuelled by Yamash'ta's extraordinary percussion playing. Later known for his involvement in soundtracks for Robert Altman's 1972 film Images -- collaborating with John Williams -- and Nic Roeg's 1976 classic The Man Who Fell To Earth, and also for his foray into fusion with his group Go, Yamash'ta never reached the creativity heard in Sunrise From West Sea again. The album was recorded during one of the most fertile periods in Japan where such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz musicians like Masahiko Satoh and Yamash'ta were revolutionizing the Japanese music scene. Includes new introduction by Paul Bowler. Remastered from the master tapes."
    $21.00
  • Francesco Zago's avant baby puts together another amazing collection of experimental/exploratory songs-- their first studio album since 2010's wonderful masterpiece, Iridule. Percussionists and a percussion-mindset seem to rule the day with YUGEN work, and Death by Water is no exception. The ubiquitous JACOPO COSTA (NOT A GOOD SIGN, THE LOOMINGS) and Giuseppe A. OLIVINI practically steal the show--though the wind section, piano of Marcus FASOLI (NICHELODEON, NOT A GOOD SIGN, EMPTY DAYS), and rhythm section of Stefano FERRIAN on 8-strings guitar & Chapman stick, Francesco Zago on electric & acoustic guitars, Alessandro CASSANI on electric bass and Matteo LORITO on double bass are the glue that hold it all together.1. "Cinically Correct" (7:48) This song, from its opening notes, makes me laugh. It is pure Yugen as only Yugen does it. Each musician contributes their individual lines as if to a conversation, a heated debate, a street brawl. Even the 'heavier' stuff that begins at 1:13 serve to move the development of the song along quite nicely. A relatively calm and predictable electric piano based section of about 90 seconds occurs in the third and fourth minutes, but then Dalila KAYROS begins to spit out rapid fire some odd vocal ejaculations (in Japanese?) Wow! That was unexpected! At 5:04 Dalila and Paolo "Ske" BOTTA team up to create a freaky space melody using voice and synthesizer, respectively! Awesome. More! The 'alien' conversation that occurs soon after is so funny--coupled with Dalila's machine gun spray of Japanese-sounding syllables. This is amazing! So creative! I don't know how these guys could/would ever replicate this in concert--it's seems so free form and diverse! They throw every thing at you but the kitchen sink! The final minute or two fall under the sway of the heavier rhythm section while all of the incidentalists throw in their epithets over, under, and in between the flow of the rhythmists. (9/10)2. "Undermurmur" (1:31) is a jazzy excursion in which playful piano, double bass and drum interact before horn hits and synth whizzes are added to the mix. Fun. A song that could be developed further. (9/10)3. "Death by Water" (5:06) is an awesome jazz fusion exhibition--like a PAUL WERTICO-led PAT METHENY GROUP song. I don't which drummer is working this song, Michele Salgarello or Carmelo Miceli, but they do an incredible job with the cymbal play. (10/10)4. "Ten Years After" (1:12) (8/10) is a brief foray into djenty-heavy metal territory that gradually fades into:5. "As It Was" (4:58) one of the two showcase pieces for the always precious Fancesco ZAGO-Elaine Di FALCO collaborations. I do think, however, that Elaine's voice is mixed just a little too loudly into the mix on this song. Her sonorous meanderings are a little too dominant, making it sound as if she is above or separate from the band and music. I'd like to hear this song in which her vocal line is mixed in, embedded within, the beautiful, intricately rendered, musical weave. It's still a great song--with an odd vocal melody that stays with you for days. It just . . . could be better! (9/10)6. "Studio 9" (2:36) is an odd little jazzy piece that sounds like a warmup exercise for a big band lineup from a 1960s jazz combo--or a Broadway pit orchestra warming up at the end of intermission. Fun and funny, loose and impromptu. (9/10)7. "As a Matter of Breath" (9:27) uses the more familiar YUGEN style of experimental jazz "un-forms." Though the drummer keeps a fairly steady rock backbeat for the rest of the instrumental dancers to tip-toe and riff and play over, the song is never what you would call 'danceable' as in social club dancing. These are for professionals! Piano--both grand and toy--have a grand time playing with time and interjection as does synthesizer, while horns play some of the more straightforward riffs--repeatedly. After a choir 'hit' at 5:26, the song takes a turn into a more eerie ambient or soundtrack of the macabre section. At times feeling as if the A Trick of the Tail GENESIS lineup were ready to burst out into the finale of "Los Endos," this song plays out with tremendous pent-up energy, waiting to burst forth, but then, instead, peters out and fades. Weird. But brilliant! (9/10)8. "Drum'n'stick" (2:12) is little drum and Chapman stick duet with all kinds of ghostly spacey sounds parading around in the wings. Really quite cool! (9/10)9. "Der Schnee" (6:05) is the album's real oddity in that vocalist Dalila KAYROS intersperses the music with all kinds of abrasive and aggressive vocalizations much like a combination of BJÖRK, NINA HAGEN and fellow AltrOck stablemate FACTOR BURZACO's lead singer, Carolina RESTUCCIA. The song opens with an eerie space synth weave over which lower register brass play long notes. Dalila begins throwing her voice around in the second minute. The final 90 seconds are quite ambient, even peaceful--in a 2001: A Space Odyssey-kind of way. Interesting--to say the least! (8/10)10. "A House" (1:25) opens with acoustic guitars being picked in folk song style as Elaine Di FALCO sings front and center and ethereal male and female vocalists whisp and willow in the wings. Quite beautiful! This is one I'd love to hear go on for five or six minutes: the vocal arrangements alone are beautiful and interesting in a Josquin des Pres kind of way. (10/10)The most curious thing about Yugen productions, to me, is that they are truly the brain-child of visionary FRANCESCO ZAGO, and Francesco is primarily a guitarist, and yet we rarely get to see/hear the guitar showcased! Is that selflessness or is it more attributable to the reality that Francesco is truly more of a conductor than an instrumentalist? Still, there is no doubt that when Francesco and his Yugen-mates get together to create music, they are fearless. On Death by Water the listener is treated to artistic expression of the highest order: modern in that dissonant, discordant way, yes, but still highly engaging and interesting. I find it mesmerizing.Five stars; a masterpiece of progressive rock music." - ProgArchives
    $16.00
  • ""Metaphorically, we could say that Miriodor is a planet, with aliens communicating in their mysterious ways with planet Earth," says Miriodor's keyboardist, Pascal Globensky. In that sense, the long-lived Montreal band's ninth album, entitled Signal 9, could simply be considered the ninth set of musical messages from that exotic heavenly body.The Miriodor discography has been building strength upon strength with each successive album. The band combines jazz, classical, rock, and international influences for an arresting, idiosyncratic sound that eludes description but remains immediately identifiable as Mirodor.Picking up where the most recent coded message from planet Miriodor, 2013's Cobra Fakir, left off, Signal 9 arrives like an invitation to an otherworldly voyage. Each track marks another twist and turn in a journey across strange, captivating landscapes populated by creatures, crafts, and constructions whose like has never been glimpsed outside the band's idiosyncratic ecosystem.Globensky, drummer Rémi Leclerc, and guitarist Bernard Falaise have expanded Miriodor to a quartet with the addition of bassist Nicolas Lessard as a full-time member. Accordingly, the band works like a one eight-handed, four-brained organism here, operating more organically and collectively than ever.And while Miriodor often forges some of their heaviest sounds to date over the course of Signal 9, the album is also loaded with off-the-wall humor and some beautiful, contemplative melodic moments. The combination makes for some crafty contrasts, frequently flipping back and forth drastically from one mood to another multiple times within a single composition for a jarring-but-thrilling effect.Once you return to your everyday life after emerging from the alternative universe of Signal 9, the whole album seems like some kind of fever dream you've just emerged from. But the big difference is that it's a dream you're eager to leap right back into again." 
    $15.00
  • "After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings.Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, inturns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings."As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepy- time's work has only grown more resonant, more prescient," offers Meredith Yayanos, symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now,with a new full-length record that integrates the past and the future?" "
    $15.00
  • "Univers Zero's new album follows the lineage of Phosphorescent Dreams, originally released only on CD in Japan in 2014, and reissued as an LP on the Sub Rosa label in 2019. Lueur is the fruit of two years' work and reflection, the foundations of which were laid by Daniel Denis (keyboards, drums, percussion), then enriched by the contributions of Nicolas Dechêne (guitars), Kurt Budé (clarinet / bass clarinet) and Nicolas Denis (bass, percussion, vocals), all three present on Phosphorescent Dreams. With this reduced line-up, Lueur offers a dense journey, rooted in the balance between power and calm, raging and serene sound. A balance, too, between complex arrangements and more contemplative moments. While this album continues the avant-rock tradition of Univers Zero, it also features some very short pieces, more electronic, tribal and haunting sounds, and voice work that is new to the U.Z. universe. Between tradition and subtle evolution, Lueur is a major new contribution to the discography of this band, which will be celebrating its fiftieth anniversary in 2024. Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music -- most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent."
    $28.00