Search Results for:

TYPE-303

Toru Yamanaka & Teiji Furuhashi / Dumb Type Theater

Plan For Sleep

In the performance of this work, "Plan for Sleep" (1986), created simultaneously with “Every Dog Has His Day” (1985), Yamanaka took on the role of sound operation. The performance begins with a minimal piece where the tones of the electronic organ and striking phrases from the piano and saxophone race forward in syncopation. Following this, various sound fragments drift over a deafening industrial beat reminiscent of machine noises. There are also pieces that transform the typing sounds of a typewriter into rhythm, showcasing a range of experiments inspired by the then-novel sampling technology, beautifully intertwining with the physicality of the performance.

Additionally, influenced significantly by film music, Yamanaka incorporates a rich tapestry of colors through melancholic melodies that evoke various scenes, from secular jazz to other influences. This work constructs a uniquely original and sophisticated worldview that stands out even when surveying the canon of avant-garde performance art from around the globe in the postmodern era.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

TRACK LISTING

ORGAN-AUTOMATIK
LESSON #3
TIPOGRAFICA
NASCA
EDISON AND HAMMERS
S.F.(Dedicated To VERNE) ~ A SONG OF ESCALATORS (Love And Sex)
QUARTET
SWEET HOME

Toru Yamanaka & Teiji Furuhashi / Dumb Type Theater

Every Dog Has Its Day

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

TRACK LISTING

Gardening #1
Gardening #2
EMPTY QUEST
Gardening #3-1
Gardening #3-2
A FRAMEWORK
Gardening #4
A Watcher Of The Heaven Ť

UK artist Risk Assessment is back once again with some potent sonic weaponry that is designed to make a big impact in the club. All four of the disco cuts are peak time sounds starting with 'Something New' which is awash with some crystalline synths and gloriously lush pads. 'Party People' is nice raw and live-sounding disco with lo-fi drums, slapping hits and a James Brown-style funk vocal. 'Like This Like That!' brings some funky little guitar motifs and a jumble of percussion while last of all, 'Girl At The Disco' shuts down with a more sensuous sound and slinky grooves that worm their way into your affections.

TRACK LISTING

Something New
Party People
Like This Like That!
Girl At The Disco

The small but already well-formed Stereo:type label has got a trip of new EPs all dropping this year. UK producer Risk Assessment is behind them all and each one explores a classic disco sound with some modern dance floor weight. 'She's On The Floor' is a celebrity and feel-good jam with heart-swelling strings. 'Rhyme' cuts up a classic vocal sample and layers it over some house-leaning beats while 'Delicious' is a wig-out lead by its shimmering synth stabs. Last but not least is the breezy and sunny 'Let's Do It'.

TRACK LISTING

She’s On The Floor
Rhyme
Delicious
Let’s Do It

This EP marks a sixth outing for the always fresh Stereo:type which deals in soulful house and disco fusions with a timeless edge. Risk Assessment is behind plenty of them, including this lovely 12" which opens with the deep house throb of 'The Way I Feel'. A dub version strips out the soulful vocal hooks then the flip opens with 'Do U Love Me' (feat Vanessa Freeman - The DJ Mix) which is a proper bit of house music songwriting with US garage drums and soaring vocals. Last of all is 'The Party' (feat Hannah Khemoh) which is more upright and intended to get the floor pumping.

TRACK LISTING

The Way I Feel
The Way I Feel (Dub)
Do U Love Me (feat Vanessa Freeman - The DJ Mix)
The Party (feat Hannah Khemoh)

Stereo:type is keeping busy with a number of releases already lined up from the young and auspicious label. It is UK artist Risk Assessment that has been behind the first couple and is again back in action here with number three. This one kicks off with a slightly deeper disco cut that has a seductive vocal and rousing chords then 'Dreamz' is a nice blissed out roller with magical melodies bringing the richness. 'Someone Like You' is denied by the voice of the one and only Barry White - his buttery baritone riding over loop and funky drums and bass and 'Power' then brings a touch of house to close out.

STAFF COMMENTS

Mine says: Risk Assessment follows up EP 1 and 2 with number 3 within less than 6 months and continues his signature style of pumping disco house on this 12" series on Stereo:type - as suitable for a sweaty basement as for your next pool party.

TRACK LISTING

Jump
Dreamz
Someone Like You
Power

Sex Swing

Type II

    Since their foundation in 2014, this malevolent rogues gallery of luminaries of the UK underground have consistently proven to be capable of projecting vibrations that transcend and usurp any idea of the sum of their component parts. It is true that they’ve clocked up notable experience sparking tinnitus with everyone from Mugstar and Bonnacons Of Doom (bassist Jason Stoll) to Dethscalator (vocalist Dan Chandler and drummer Stuart Bell) and from Earth (guitarist Jodie Cox, who also introduced keyboard player Ollie Knowles to the melee) to a dizzying variety of endeavours from the paint-stripping skronk of Dead Neanderthals to the righteous ire of Idles (all via saxophonist Colin Webster). Yet Sex Swing represents less a group of disparate musicians pooling their resources, and more a peculiar spark of collective chemistry, with all forces gravitating towards the pursuit of the same dissolute and mysterious goal.

    ‘Type II ’ is that goal reached in effortless style and amplified to intimidating aural vistas. This mighty monument of swagger and malice also sees fit to add a certain amount of glitter to the trademark grit this time around. Just as the artwork from long-term collaborator Alex Bunn boasts a luminous sheen absent from the unsettling abjection of the sleeve of their 2016 debut, so the rolling grooves and mantric hypnosis here boast a new-found structure and a feline sleekness fresh and unusual for this pugilistic outfit. Nonetheless, this remains a band fundamentally obsessed with the expression of decadence and wrongdoing through the mediums of repetition and overloaded frequencies.‘

    Type II ’ is more than the mere machinations of a rock band - it’s a howl of malfunction rendered terrifyingly visceral. It’s the lightning flash and unearthly roar of the primeval battle between Godzilla and Mechagodzilla that provokes awe and disquiet in the realm of fantasy, It’s the haunted clangour of the faullty air conditioning unit that lurks in the anonymous office building yet lends it eerie ambience. It’s man vs machine where discord becomes harmony, and it’s a fearsomely invigorating spectacle to behold.

    TRACK LISTING

    01. The Passover
    02. Skimmington Ride
    03. Valentine’s Day At The Gym
    04. Betting Shop
    05. Need Battery
    06. La Riconada
    07. Garden Of Eden / 2000 AD

    Body Type

    EP1 & EP2

      Body Type patched themselves together in Sydney in 2016 and found they each contained pieces that perfectly complemented one another’s. They soon set about articulating their ideas through jangling guitars and scuzzy, lo-fi production, and found that audiences at home in and around the country were eager to get sucked in.

      Following the debut release of ‘EP1’ in late 2018 and the sophomore ‘EP2’ both Body Type EPs are now available on vinyl.

      Their music so far has received critical acclaim from the likes of the FADER, DIY Mag, NME, KEXP, Beats 1’s Matt Wilkinson, Radio 1’s Jack Saunders, triple j's Declan Byrne and more and it has seen them tour with the likes of Alex Cameron, Courtney Barnett, Frankie Cosmos, Big Thief and Rolling Blackouts Coastal Fever, to name a few.

      In 2019, they played two shows at New York’s Union Pool with Fontaines D.C., embarked on their first SXSW run and completed their first ever hotly-anticipated UK / EU headline tour, including a headline show at London’s Moth club.

      “Immeasurably cool” - Dork

      “The Aussie gang making starry-eyed garage-pop to brighten your day” - NME

      “If I die let me come back as a member of an Australian band capable of writing as many catchy bops as Body Type” - The Fader

      TRACK LISTING

      Ludlow (Do You Believe In Karma?)
      Palms
      Teeth
      Dry Grass
      Silver
      Arrow
      Stingray
      Free To Air
      UMA
      Insomnia
      Sad Wax

      Mike Shiflet

      Sufferers

        Ohio-based noise upsetter Mike Shiflet has amassed an enviable amount of releases in the last decade. Tapes, vinyl, cdrs – you name it, he’s done it, but it’s taken until now for Shiflet to weld together what he regards as his defining work. The first in a series of two ‘proper’ albums, ‘Sufferers’ takes the listener to the very heart of Shiflet’s sound – through the abrasive noise heard on his early releases all the way to the shimmering ambience that made up his breakthrough album ‘Llanos’.

        A deeply patient and rewarding record, Shiflet uses his long-practiced skills to lay waste to a gaseous collection of source recordings, bringing a chattering, disturbing resonance to what sounds like whirring hospital equipment. It is always difficult to reframe US noise music without the punk, tape-destroyed aesthetic – but like Kevin Drumm before him Shiflet manages to push his sound into high fidelity effortlessly. Each frequency is picked meticulously for maximum effect, and trust me when I say that if you listen on headphones you are treated to an entirely different experience.
        Whether reducing the listener to an opium-fuelled coma on the shimmering ‘Axle Grease’, or treating us to the kind of intensity Fennesz last exhibited on ‘Endless Summer’ with ‘Blessed and Opressed’ there is a sense that Shiflet has an ineffable control over his plethora of techniques and ideas. A rare gem in a mire of half-hearted records, ‘Sufferers’ grabs you by the throat and doesn’t let go until the final creak. And this is only the beginning…

        TRACK LISTING

        1. (Sufferers)
        2. Sufferers
        3. Axle Grease
        4. Blessed And Oppressed
        5. No Sanctuary

        It is hard to believe that five years have passed since Sylvain Chauveau's last 'proper' album. Of course there have been re-issues peppering the years since 'Down To The Bone', as well as more than a few collaborations and soundtrack appearances, but Sylvain has purposefully waited to allow his ideas to come to fruition. On mentioning his new album a few years ago, Sylvain commented that he didn't think it would appeal to everyone and that he wanted to take a fresh direction. The Depeche Mode songs he had explored on "Down To The Bone" had given him ideas he felt he needed to explore, and "Singular Forms (Sometimes Repeated)" is his attempt at an album of 'songs'.

        In many ways, "Singular Forms (Sometimes Repeated)" is constructed the way albums used to be – it is compact and filled with vocal hooks and melodies, yet Sylvain has deconstructed the musical forms he grew up listening to and reduced them to their base level. Vocal snippets fall through the stereo field and his signature piano motifs splutter and cough through processed digital hiccups. As Carsten Nicolai and Ryuichi Sakamoto deconstructed classical music, Sylvain attempts here to study and dissolve the roots of popular music. Each piece feels like it could have started as a three-minute pop sing-along before the accompaniments were stripped away and the component parts reduced to merely a backbone.

        "Singular Forms (Sometimes Repeated)" is a daring and challenging listening experience. The widescreen theatrics of Sylvain's previous work have all but disappeared, leaving an album that is stark and incredibly beautiful. It is an album rooted in a love of art and music, both minimal and mainstream and celebrates Sylvain's influences. One listen might
        only reveal surface details, but listen again and you will find much, much more.

        N-Type

        Dark Matter / HP Sauce

        Following the all-area smasher "Pinball" and super classy "EchoLow" Black Acre orphanage for sonic outsiders welcomes a true pioneer in the form of legendary DJ N-Type. "Dark Matter" is a departure from the DNA scrambling rippers we've come to expect without sacrificing any of N-Type's trademarked impact. Here he gets all Edgar Alan Poe on the beat as etheric winds slice into the sub and our nocturnal narrator depicts ghostly happenings. The heavyweight bruiser kick / snare tag team anchor the impossibly subtle midrange growl as bongolian tribalist procussion keeps the riddim rolling. Sprinkle some arpeggiated synthetic angel dust over the mix and you've got an original take on a well-practiced classic form. On the flip we unearth the long requested often speculated over "HP Sauce". This long awaited lost dub reeks of the sheer rudeness that kicked off modern dub music, lazer bass rips deep wounds into the rugged halfstep riddim and ultra low-end dabbling squeezes oxygen outta the dance. DJ support from Hatcha, Caspa, Walsh and Mary Anne Hobbs.


        Latest Pre-Sales

        115 NEW ITEMS

        E-newsletter —
        Sign up
        Back to top