mimaroglu music sales ☞ artists ☞ jason lescalleet

.home.

.artists.

.labels.

.new.

.restocks.

.best.

.faq.

.blog.

previous artist: richard lerman		there are 12 titles featuring jason lescalleet in stock. they are listed below.		next artist: ron lessard

$12.01

back in stock as of
october 15th, 2007

first in stock on
january 10th, 2005

file under:
sound-research
free-improv
lo-fi
electro-acoustic

chloë recordings (usa) #chloe 006 cd

jason kahn / jason lescalleet “red room” compact disc

what’s new in baltimore?
friends in low places
red house
dronevil3

excellent transcription of a live-set by these two leaders from opposite ends of the eai spectrum... kahn with his austere, precise sound-blends and lescalleet with his rough & ready tape-malfunction and mic-feedback. together they’re as unpredictable as it gets...

chloë recordings press release...

“chloë recordings announces the first collaboration between jason kahn and jason lescalleet, a live performance from the famed red room in baltimore, md.

jason kahn, a native of los angeles who lives in switzerland, has been in overdrive recently, putting out new recordings both solo and in collaborations on a wide range of labels (including his own, cut), and performing all over the world. jason lescalleet of maine is one of the most unique composers and performers in electronic music; on stage he creates textures of unbelievable sensitivity and power using old reel-to-reel tapes and casios, while creating mastering magic both for his own recordings and for others.

this disc contains some of the warmest music i've heard. it wraps you in a sound blanket you won't want to shake off. it's a message of love to the red room and the people who fill it.

heart photograph by mike bullock; all other photos by jason lescalleet. jacket design and liner notes by mike bullock.”

$13.44

back in stock as of
february 7th, 2009

first in stock on
april 18th, 2008

threads:
electro-acoustic-composition
musique-concrète
field-recordings
playback-music
site-specific

erstwhile (usa) #erstwhile 052 cd

graham lambkin / jason lescalleet “the breadwinner • musical settings for common environments and domestic situations” compact disc

listen, the snow is falling (8:00)
there and back (4:00)
e5150/body transport (9:00)
soap opera suite (6:06)
lucy song (6:00)
two states (7:00)
there and back again (2:13)
the breadwinner (7:00)

click the play button to hear an excerpt of "listen, the snow is falling"

april 2008 release ; the long-awaited collaboration between graham lambkin and jason lescalleet - their symbiotic modus summed up nicely in this (creepy) image ::

composed at lambkin’s upstate-ny residence (which, by album’s end, turns out to be the third member of the ensemble here), “the breadwinner” sits very comfortably next to lambkin’s recent/head-scratchingly excellent “salmon run” - in that (despite it’s appearance on what is otherwise a label dealing exclusively in improvised music(s)) it is a suite of tape-music pieces constructed out of what would initially appear to be rather banal recordings of daily rituals & environmental disturbance - yet their arrangement & construction (utilizing, from the thick sound of things overall, much of jason’s slown-down tape-loop processes) works beautifully in portraying a clear narrative flow making this more of a linear suite (we’ve walked in the front door - in the hallway -now we’re in the basement - the bathroom - the room upstairs with the piano - the attic - the washroom - out in the yard - away) than a mere collection of unrelated pieces ...

a couple of months on in my appreciation of “salmon run” and i still don’t have a clear/concise catch-all set of adjectives i can use to properly describe it’s staying power - and this one is even more obtuse ; leaving an even thinner strand of clues as to it’s overt form/function (check back early 2009) - i will say that these guys are on their own here ; wading deep in waters uncharted by just about everyone else ; even if i wasn’t immediately swept up by the sheer beauty of this record (listen to the sound-sample), i’d have no qualms highly recommending spending a night or two at lambkin’s haunted villa ...

ps. the lovely lp of robert ashley’s “private parts” - in case you were wondering why it looks so damn familiar ... a red herring ? perhaps ...

erstwhile press release...

graham lambkin / jason lescalleet
the breadwinner
erstwhile 052
total time: 49:19

graham lambkin/jason lescalleet - microphone, tapes, casio sk-5

graham lambkin and jason lescalleet are both highly respected artists, with small but intensely hardcore followings. since 2001, they've been gradually moving closer towards realizing a collaborative project, and the breadwinner is the results of two years of recording, reworking and polishing.

lambkin first entered the public consciousness at 19 when he formed his band the shadow ring, in folkestone, a small town in kent, england. the band was memorable and built an rabidly passionate fan base because of its sui generis approach, blending elements of folk, noise, cracked electronics, and surrealist poetry, while radically changing the overall formula with each release. a decade of increasingly skewed and inspired work culminated in 2003's i'm some songs, constructed long distance as lambkin had relocated to the us in 1998. over the last few years, lambkin has primarily worked under his own name, most notably with 2007's brilliant salmon run, a precursor to the breadwinner.

lescalleet has gradually and painstakingly built a compelling discography over the past decade. he uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. he is one of a growing list of master producer/musicians, whose skill lies as much in reworking, assembling and mastering the material available as in creating it (or helping create it) in the first place. he has worked with such wide-ranging artists as ron lessard, joe colley and phill niblock, and has released a string of superb solo discs in mattresslessness (cut), electronic music (rrr) and the pilgrim (glistening examples). this is his second release for erstwhile, after 2001's forlorn green (w/greg kelley), and his third is already in preparation, a duo with bhob rainey, planned for release in early 2009.

the material for the breadwinner was recorded at lambkin's house in upstate ny, over two recording sessions. the duo treated the entire building and its surrounding grounds as a studio, welcoming in outside sounds, which were later kept or eliminated as they felt appropriate. the subtitle on the front cover is "musical settings for common environments and domestic situations", layering numerous submerged fragments to find beauty in everyday life.

"jason lescalleet's influence was palpably present long before the average joe knew how many l's were in his last name (or could successfully google it). he spun tape loops with nmperign from the get-go, frequently signified the endings of his characteristically foundation-shaking performances by hurling a nearly indestructible, hundred-pound peavy amp across the stage, and provided the bulk of the "disaster" in legendary drummer laurence cook's "disaster unit 2000". but as the smoke cleared and the peavy met its demise in a white-walled room, it became apparent to an awful lot of people that lescalleet was making some amazing music; beautifully constructed symphonies of decay born of an intimacy with items and ideas lesser minds might discard: tape machines, lo-bit samplers, the tedium of everyday life. his ability to evoke powerfully complex emotional experiences from such muck made a collaboration with graham lambkin practically inevitable.

composer walter marchetti once made a statement to the effect that he was seeking to reach the "bottom" of music. some more diligent attention to this task might lead him to the music of graham lambkin. already marking out a glorious bottom with his former band, the shadow ring, lambkin has pursued a music so removed from prescribed aesthetics that one is flooded by the beauty it seems to ruthlessly avoid. he puts the mundane to tape and carves out its horror, its sweetness, and its unsettling ambivalence. shrouded in a disarming naiveté, the music leaves the listener ill-prepared for its very adult take on being-in-the-world. we are fortunate that humor can be so black, that we may surrender happily and willingly to an experience not many artists are willing or capable of delivering." - bhob rainey

$13.44

back in stock as of
february 7th, 2009

first in stock on
december 18th, 2003

threads:
electro-acoustic-improvisation
playback-music
plunder-phonic

erstwhile (usa) #erstwhile 019 cd

greg kelley / jason lescalleet “forlorn green” compact disc

man on the outside (9:00)
conquest of the earth (27:00)
tight spot (8:00)
autumn leaves (10:00)

erstwhile press release...

greg kelley: trumpet
jason lescalleet: tape loops, computer

over the last few years, the boston/cambridge improv scene has emerged as potentially the most exciting in the us. greg kelley and jason lescalleet are two of the most compelling figures in this scene.

kelley, a stunningly original trumpeter, graduated from the peabody conservatory of music in 1995. he has since garnered much praise for his unique vocabulary of extended techniques and timbral manipulation. in 1998, kelley began a pattern of dedicated touring, performing throughout the united states, europe, and japan. these travels have led to numerous collaborations, including ones with anthony braxton, paul lovens, keiji haino, eddie prevost, kevin drumm and john butcher. kelley is best known for his work in the duo nmperign with bhob rainey and for his breathtaking solo record on meniscus, simply titled trumpet.

lescalleet has been working with different styles of music for over a decade, focusing on the use of tapes for much of that period. in live performance, he uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. he blends layers of ambient tapeloops, moving through levels of silence and white noise, all transformed through cheap microphones and trashed speakers. for his studio work, lescalleet uses the computer as a processing and organizational tool. he has worked with such wide-ranging artists as francisco lopez, donald miller, achim wollscheid, and john hudak.

kelley and lescalleet first met in early 1998. the following year, lescalleet joined nmperign for the first in a series of collaborations culminating in the release of a split cd ‘in which the silent-partner director is no longer able to make his point to the industrial dreamer’ (intransitive). eventually, the duo project documented here materialized: the outcome of three years of enthusiastic aesthetic discussions, performances containing near silences one night or (literal) showers of sparks on another, countless phone calls and emails, and endless listening. forlorn green is the end result of four recording dates, two live collaborations, one recording of kelley solo, and one recording of kelley under lescalleet's direction, employing uncommon recording equpment and unconventional techniques. forlorn green merges a remarkable variety of neo-industrial rumbles and incisive interruptions, all flawlessly fused and integrated, creating a lo-fi concréte masterpiece.

$33.61

back in stock as of
november 7th, 2009

first in stock on
november 4th, 2006

threads:
electro-acoustic-composition
live-electronic
musique-concrète
minimalism-drones
playback-music
self-released
concert-recordings
field-recordings

glistening examples (usa) #glex 0601 lp

jason lescalleet “the pilgrim” picture disc long playing record and compact disc set

jason lescalleet “the pilgrim”

lp :

introduction at the first intransitive festival of electronic music
his petition (live recording)
an excerpt from the last verbal communication my father and i shared

cd :

the pilgrim

click the play button to hear an excerpt of "his petition"

november 2009 ; finally back in stock !!! now a perennial !!!

november 2006 release ; the debut on jason lescalleet’s own “glistening examples” imprint ...

“the pilgrim” has been an on-going project of jason’s since his father’s passing in 2005 ; that it has come to fruition as such a lavish edition (a full-color gatefold lp sleeve housing a full-color picture disc lp and... nestled deep within the “sealed” pocket of said gatefold, a full color 7” x 10” 8-page booklet with a 74-minute compact disc tucked inside) says everything about jason’s drive to celebrate his father’s life.

starting with his performance at the intransitive festival of electronic music (side 1 of the lp), jason began constructing a series of pieces based around his father’s interpretation of the hudak/lescalleet “figure 2” release as corrupted wind chimes and/or the sounds emanating from the floor of a ‘32 chevy ... and in fact the latter sentiment captures the essence of this piece; low-end rumble made “rickety” by the combination of its tape-wow/flutter origins & the faint crackle of the lp-surface.

the next piece (side 2 of the lp) is an un-airbrushed field-recording of jason’s final exchange with his father, then lying on his death bed. given the context on first listen i could barely get through it (too much resonance with my own unchecked emotions on the loss of my mother a few years back) but on subsequent listens i can now appreciate it as one of the most intense listening experiences i’ve ever encountered, rendering many “audio documentary” style recordings powerless in comparison ...

finally, the cd contains a single extended-length piece of immaculate low-end clusters and ripples; starting with the aforementioned corrupted wind chimes and continuing on a flowing, linear path through a frenzied climax of pure rage - before we’re again in the hospital, listening to jason’s daughter audrey singing “molly malone” over the faint backing of muted bells. just glorious.

where the live recording is all about re-capturing a hazy, time-worn memory (jason and/or his father as children), the piece on the cd is crystal-clear, assembled with the benefits of modern sound-assembling apparatus and a remarkably keen sense of frequency-relationships (jason and/or his father as adults) - when i first played this piece (at a more-than-fair clip) every single un-bolted appliance in my house was vibrating in resonance...

this set, in my mind, is the crowning achievment of jason’s musical life-on-earth thusfar ; he’s managed to channel the infinite sadness of his father’s passing into a grand statement that’s both intensely personal and penultimately triumphant ...

the record-event of the year, hands down, rife with a real emotional heft lacking in so much of the experimental music that grazes my desk these days. i give it my highest recommendation.

glistening examples press release...

jason lescalleet - the pilgrim

i started this project as a memorial to my father. i ended up thinking about my brother and myself.

... and greg kelley, bhob rainey, andrew b. schontag, giancarlo toniutti, vic rawlings, joe colley, howie stelzer, dustin and audrey ...

... john hudak had a lot to do with it.

john hudak and i started exchanging tapes in the late 1990’s. i don’t recall how the relationship started, but we definitely inspired each other to work in new directions. we pressed a lathe-cut 7” record called like seeing and again not. to celebrate this record, we set up a performance at the lindsay chapel, in the first church congregational, in cambridge massachusetts. it was the 20th of january 2000. i was impressed with the size of the audience that attended on this night, as a heavy snow storm covered the city.

luckily, we recorded the performance. the show went very well, and the result was released by howie stelzer on his intransitive recordings imprint in 2001. the title is figure 2.

in the center of the pilgrim record jacket, i printed a copy of an email from my father to explain why figure 2 has become even more than a document of one of my early performances. figure 2 became a gateway between my father and me, as it gave him something he could decode and identify in his own way. i still marvel at the concept of my father thinking of that long car ride and fever dreams,... memories that go back twenty-one years before i was born. he cited the low vibrations and the bells as his favorite components of those recordings, likening these sounds to those of a 1932 chevy and “corrupted wind chimes”. these sounds became the basis for the pilgrim project.

the record

side 1 begins with my introduction at the first intransitive festival of electronic music, on the 16th of may, 2005. my father had recently shared the news of his cancer as terminal. doctors estimated that he had two years to live. this was difficult for me to process. on one hand, i felt deep sadness and extreme helplessness, knowing that there was such a short time for my family and me to share life with my father. on the other hand, my dad explained that he saw this prognosis as a gift. he now valued every minute of his remaining life. he wanted to live as much as possible in his last days. he saw this as time to get his life in order before the end. most people are not afforded such ability to prepare.

i was conflicted about performing at this festival. i was so sad, so depressed, but i also saw this as a chance to release some tense energy as well as an opportunity to play some music inspired by my father's comments about figure 2.

my set that night was divided into two sections, based on the proposition that you can petition the lord with prayer. the first piece was called "his petition". i basically tried to transform the theater into the floor space of that 1932 chevy. i used analog tape saturation to rumble and vibrate the stage and air with the fullest of sound waves from the lower end of the spectrum. this was body music.

...

side 2 of the record is difficult for me to listen to.

as my father's health declined, he was spending more and more time in the hospital. it was hard for my family and me. we tried cheering him up by giving him a small tape recorder. i hoped he would find it useful for recording his thoughts or leaving messages for people. during one visit, he asked my daughter audrey to sing a song for him. he handed her the tape recorder and she sang without hesitation. she was so pleased to bring some cheer to her grandfather. she jumped right into the traditional irish folk song called molly a malone. it was quite a surprise for all of us. listening back to the recording later, i could hear audrey falter as she suddenly realized that molly dies in this song, and that maybe it's not such a cheery song after all.

the cancer consumed my father's body much faster than doctors predicted. it was like a snowball effect. my dad decided to die at home. he didn't want to die in the hospital. he wanted to be home with louise, the woman he loved. she took such good care of him at home.

it was the end of august, 2005. melody and i visited my father for the last time. during our visit, i instinctively turned on the tape recorder, hoping to record our goodbye. my father was too far gone to expend energy on keeping a conversation. he could barely talk at all. side 2 of this record is an excerpt from the last verbal communication my father and i shared.

harrison lescalleet died on the third morning of september, 2005.

...

the cd

the pilgrim compact disc is a 74 minute composition based on exaggerated examples of the values my father found in figure 2.

bells.
chimes.
rumbling vibrations.

imagine the fever. you're laying on the floor, in the back seat of a car, as your father drives you to the hospital that's over an hour away. the fever won't quit, and you have nothing to comfort you but the rumble of the exhaust, the vibrations from the transmission, and drone of the road under you. do you hear bells? maybe your ears are ringing. if only this fever would loosen its grip.

this composition peaks near the end of the disc, where i include the second piece from my performance at the intransitive festival of electronic music. this piece is titled "my petition" and it's much more aggressive than "his petition". i was angry about losing my father and this music demonstrates that. after "my petition" there is resolve, as i have made peace with my father's death. this composition ends peacefully, as my father died serenely in his sleep.

acknowledgment

thanks to my brother, todd for the wonderful painting that became a focal point for this project. this painting captures the "dad" in our father. i'm proud of todd's art and grateful to be able to include it in this project.

thanks to bhob rainey for technical support during my times of equipment failure.

thanks to erik hoffman for working well with last minute details in cd replication.

thanks to mike shiflet for artistic assistance at all hours of day and night.

special thanks to my friends and family for all of the love and support i felt during the time surrounding my father's illness and death.

sometimes you drive, sometimes you're a passenger.
thank you everyone for riding with me here.

$17.36

back in stock as of
april 7th, 2008

first in stock on
june 11th, 2006

threads:
playback-music
minimalism-drones
electro-acoustic-composition
plunder-phonic
musique-concrète
live-electronic

korm plastics (netherlands) #kp 3024 cd
brombron (netherlands) #brombron 09 cd

joe colley / jason lescalleet “brombron 09: annihilate this week” compact disc

untitled
untitled
untitled
untitled

click the play button to hear an excerpt of "annihilate this week"

first title in the brombron series i’ve been able to stock (thanks to jason for dropping these off!) - titles in said series all result from short stays in the extrapool / knust compound in nijmegen, where artists are invited to come and not just play a concert but use the tape-studio to build a record, then use the print-studio to make the artwork! now that’s the kind of gesamtkunstlösung i can get behind...

korm plastics press release...

joe colley / jason lescalleet - brombron 09: annihilate this week
korm plastics kp 2024

korm plastics is proud to present the ninth release in the brombron series. originally a co-production between staalplaat and extrapool, it is now hosted by co-curator frans de waard. in the year 2000 frans de waard and extrapool started the brombron project. two or more musicians become artists in residence in extrapool, an arts initiative in nijmegen, the netherlands, with a fully equipped sound recording studio. these artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.

colley and lescalleet had never met before their grey week in nijmegen. though neither of these melancholic composers were prepared for the conflicts and compromise of this collaboration, they found common ground in rejecting the need for deep meaning or complex concepts.

46 minutes remain after harsh judgement from two perpetually dissatisfied artists.

but what does it sound like?

amidst the detritus of yard sale junk and old, broken equipment, colley and lescalleet engage in the pursuit of resurrecting the essence of sound and exposing beauty that others discard. locked away in the recording studio of geluidwerkplaats extrapool for ten days, they found music in the natural process of decay. these compositions seem weathered and eroded. rather than aiming for excitement or dazzling expression, colley and lescalleet embrace the tedium of everyday life as something beautiful and compelling. this is music with a slow absorption rate and a high toxicity.

$13.44

new to stock as of
november 12th, 2009

threads:
modern-composition
musique-concrète
electro-acoustic-composition
field-recordings

kye (usa) #kye 04 cd

graham lambkin “softly softly copy copy” compact disc

20:40 (1) (20:40)
20:40 (2) (20:40)

click the play button to hear an excerpt of "20:40 (1)"

november 2009 release ; blistering 2-part tape-music / musique concrète composition from graham lambkin, hot on the heels of his (already o/p) “salmon run” and “the breadwinner” set(s) ...

utilizing a banner of field recordings, samara lubelski’s violin, and austin argentieri’s guitar playing, lambkin’s adept construct(s) take in the “classic-era” concrète signifiers (the four elements ; man vs. nature, etc ...), going “off the rails” frequently & delving often into some of walter marchetti’s “home-made electric music” tactics (soft recordings of loudly occuring events ; occasionally the opposite) to yield something that is at once informed by the lineage of electro-acoustic composition yet playfully irreverent in terms of the “proper” form / flow patterns that have emerged over the past 60-odd years ...

excellent work ; my cursory listens thusfar (in the office, loud, at night, enebriated) have me rating it even higher than the bar-setting “salmon run” ; highly recommended !!!

kye press release...

graham lambkin 'softly softly copy copy' (kye 04)

softly softly copy copy is the brand new cd by graham lambkin, following on from 2007's salmon run (kye) and 2008's collaboration with jason lescalleet the breadwinner (erstwhile). softly softly copy copy is a two-part tape compostion - a shoreline odyssey where man and beast wrestle for absolute rule. recorded and mixed in upstate new york over a two year period, and aided by the talents of samara lubelski - violin, and austin argentieri - acoustic guitar.

mastered by jason lescalleet at glistening labs. comes housed in an elegant 4 panel digipak.

$8.41

back in stock as of
march 24th, 2009

first in stock on
november 10th, 2006

threads:
live-electronic
electro-acoustic-improvisation
minimalism-drones
concert-recordings

pure (usa) #pure fin cd

due process “fin de la voix” compact disc

combine xxi (4:42) (w/ chris cooper)
combine xxii (6:19) (w/ greg kelley)
combine xxiii (6:18) (w/ dave quinn)
combine xxiv (8:30) (w/ vic rawlings)
fin de la voix (17:59)

click the play button to hear an excerpt of "combine xxii"

2001 release: the due process duo of jason lescalleet and rrron “emil beaulieu” lessard augmented (on the first four pieces, respectively) by chris “angst hase pfeffer nase” cooper, greg kelley, dave quinn, and vic rawlings ...

i assume the title refers to the voix gallery space in lowell, ma, where many a good-to-great concert took place (and at least one rooftop pagan wedding ceremony - that i can remember) in the waning days of the 1990s ...

$11.76

back in stock as of
november 30th, 2009

first in stock on
october 5th, 2006

threads:
free-improvisation
minimalism-drones

rossbin (italy) #rs 006 cd

greg kelley “if i never meet you in this life, let me feel the lack” compact disc

if i never meet you in this life let me feel the lack (36:48)

click the play button to hear an excerpt of "if i never meet you in this life, let me feel the lack"

2001 solo trumpet assembly by greg kelley... jason lescalleet is herein credited with “mastering”, but i have a feeling his input was just slightly moreso than simply frequency-alteration (if you look at the waveform in an editor you’ll see what i’m talking about.)

of greg’s earlier records, this one is probably my favorite, especially the downright evil outro-drone (listen to the sound-sample... all the way through...)

rossbin press release...

author: greg kelley
title: "if i never meet you in this life, let me feel the lack"
label: rossbin
format: cd
catalog #: rs006
time: 36:48

greg kelley: trumpet

recorded october 2001 by greg kelley at the vile house, somerville ma

mastered december 2001 by jason lescalleet at glistening labs, usa

thanks:

oliver alden, g.l., jason lescalleet, t.m., patrick o'neil

$8.41

back in stock as of
august 4th, 2009

first in stock on
january 10th, 2006

threads:
electro-acoustic-improvisation
minimalism-drones
playback-music
musique-concrète

rrrecords (usa) #rrr 020 cd

due process “combine i - xviii” compact disc

i (2:14)
ii (3:30)
iii (2:20)
iv (1:41)
v (4:32)
vi (3:31)
vii (1:26)
viii (2:12)
ix (4:19)
x (4:17)
xi (3:00)
xii (3:39)
xiii (3:04)
xiv (2:23)
xv (1:06)
xvi (4:41)
xvii (3:38)
xviii (3:05)

1995 “studio album” from jason lescalleet and ron lessard...

$12.48

back in stock as of
august 4th, 2009

first in stock on
may 24th, 2004

threads:
electro-acoustic-composition
playback-music
minimalism-drones

rrrecords (usa) #rrr 001 lp

jason lescalleet “electronic music” long playing record

morphology (4:56)
litmus tape (9:17)
accidental - oriental (7:56)
beautiful whore (10:17)

click the play button to hear an excerpt of "litmus tape"

fine, fine lp of jason lescalleet’s “electronic music” - a more composerly bent than on offer via other solo lescalleet releases ; much decay and lo-frequency murk, the best of all possible worlds ...

rrrecords press release...

jason lescalleet is best known for collaborations with nmperign (greg kelley and bhob rainey) and thomas ankersmit. electronic music finds lescalleet working in his "standard" environment, running short loops of tape between several ancient recorders, working up a fairly dense sound matrix and then augmenting those sounds electronically on the fly.

"morphology" begins with isolated scratches that eventually become engulfed in deep rumbles, sounding like a thunderstorm raining pellets of static. "litmus tape" is more of a midrange roar, as though one is hearing passing jets through ten feet of concrete. like much of lescalleet's best work, it has a density that allows the listener to return time and time again with the surety of hearing new elements on each occasion.

"accidental-oriental" begins innocently and softly before suddenly leaping into a kind of metallic wash, another sort of roar that brings to mind ball bearings rolling in steel basins, but muted to remove the treble. it builds to a speaker-endangering climax right at the end that leads directly into yet another inferno, the concluding "beautiful whore." the tone shifts to something darker here, the taped burblings taking on the character of threatening noises emerging from fissures in the walls of a lightless path. it finally explodes into shards of its constituent elements, closing the album with an unsettling entropic feel.

$15.61

back in stock as of
may 16th, 2008

first in stock on
july 20th, 2007

threads:
musique-concrète
playback-music
harsh-noise
minimalism-drones
electro-acoustic-composition
electro-acoustic-improvisation

we break more records (usa) #we 005 ep

jason lescalleet / due process “combine xxi, xxii” ten inch single record

combine xxi (10:15)
combine xxii (10:20)

click the play button to hear an excerpt of "combine xxii"

late july 2007 release; the follow-up to the “combines xix xx” lp (also on we break more records) by jason lescalleet’s due process... comes complete as a 10” record inside a yellow/orange “78 sleeve”, inside a letter-pressed 10’ x 20” wraparound sleeve; deluxe.

... but enough about the object; let’s talk about the music... for the “combines” series, jason has been using extant/archival recordings of his due process duo with rrron “emil beaulieau” lessard as source material, building densely layered collages of plundered musique concrète, found sounds, and of course jason’s own in-situ magnetic tape-looping... in this case the source material is a recording of due process’ set opening for amm in boston on october 14th, 2000.

an amazing blast of plundered droning & more rampant string-destruction (listen to the sound-sample) - one of jason’s best outings. highly recommended !!!

we break more records press release...

jason lescalleet’s due process – combine xxi/xxii 10” vinyl record
cat. # we10-005

now available: july 2007

combine xxi, combine xxii is the second vinyl album documenting the ongoing collaboration between tape loop composer/destroyer jason lescalleet and ron lessard, aka noise legend emil beaulieau and head of the pioneering rrrecords label. while due process has been lessard’s longtime umbrella for collaborations (which previously have featured like-minded outsiders tom dimuzio and john wiggins), this current iteration of due process is an altogether different beast. using severely manipulated recordings of the duo’s ear-splitting live concerts, lescalleet creates a dense sound world, abstract and visceral. consisting of two sidelong pieces, by turns both brutal and beautiful, this latest record is a testament to lescalleet’s ability to recast rough sounds in his blurry, tape-distorted image.

lavishly printed on heavyweight lennox paper and lovingly letter-pressed by smudge ink in boston, this 10” record is limited to 300 copies.

wbm is a new artist-run label for electronic music, specializing in high quality, limited-run vinyl releases in handmade, silk screened and letter pressed packaging.

$18.48

new to stock as of
august 4th, 2009

threads:
harsh-noise
electro-acoustic-composition
electro-acoustic-improvisation
minimalism-drones
sound-art
experimental-instruments
sound-design
schimpfluch-gruppe
plunder-phonic
playback-music
modern-psych
modern-composition
machine-music
lo-fi
guitar-themed
digital-musics
circuit-bending
analogue-synth
anti-music

rrrecords (usa) #rrr 1000 lp

“rrr-1000 lock groove” long playing record

amk - (50 untitled locked grooves)
aaron dilloway - (50 untitled locked grooves)
thomas dimuzio - (50 untitled locked grooves)
kevin drumm - (50 untitled locked grooves)
carlos giffoni - (50 untitled locked grooves)
incapacitants - (50 untitled locked grooves)
gx jupitter-larsen - (50 untitled locked grooves)
jason lescalleet - (50 untitled locked grooves)
francisco lopez - (50 untitled locked grooves)
lasse marhaug - (50 untitled locked grooves)
the new blockaders - (50 untitled locked grooves)
jerome noetinger - (50 untitled locked grooves)
prurient - (50 untitled locked grooves)
rlw - (50 untitled locked grooves)
damion romero - (50 untitled locked grooves)
runzelstirn & gurgelstock - (50 untitled locked grooves)
sudden infant - (50 untitled locked grooves)
keith fullerton whitman - (50 untitled locked grooves)
c.spencer yeh - (50 untitled locked grooves)
otomo yoshihide - (50 untitled locked grooves)

click the play button to hear an excerpt of "(50 untitled locked grooves)"

august 2009 release ; just wow ...

possibly the penultimate release in a series of locked-groove releases instigated by rrron “emil beaulieau” lessard back in 1993 with the “rrr-100” 7” single record (feat. 50 locks per side by folks like jim o’rourke, idea fire company, borbetomagus, skullflower, chop shop, new blockaders, et.al) then again in 1998 with the “rrr-500” lp (250 on each side by ... one a piece by pretty much a who’s who of late-90s experimental sound) ...

and now, 11 years later, we get the next logical evolutive step ; 1000 locked grooves (500 per side !!!) ; 50 each by 20 artists picked by rrron based on the following algorithm ::

this time i decided to focus on only 20 artists and give them plenty of room to stretch out - really glad i did because this one is much more solid than the other two, noisewise

before i invited the artists, i had devised a simple formula for myself
50/50 = noise/electronic (experimental)
50/50 = new/old school
50/50 = usa/intn'l
50/50 = people i always work with/people i've never worked with

the unsung genius / hero here is undoubtedly aardvark mastering’s paul brekus, who must have spent countless man-hours getting the metal mothers cut just right (i can only imagine the number of time he got halfway through cutting a side before making a single mistake & having to start over from scratch !!!) ... despite the fallout from such a thing a thing (i.e. the deluge of blackened noise tapes & cdr’s i’m going to be handed at gigs over the next year or so comprised of “prurient loops” will undoubtedly be bafffling) the quality & attention to detail put forth by just about everyone is seriously impressive ... easily on the records of the year thusfar & a testament to the staying power & endless, mutating possibilities of the vinyl lp record ...

highest recommendation !!!

rrrecords press release...

here we go again

i got a new lp, just came out today - its a 1000 lock groove lp called...........

rrr-1000 lock groove lp

20 artists - 50 grooves each
amk
aaron dilloway
thomas dimuzio
kevin drumm
carlos giffoni
incapacitants
gx jupitter-larsen
jason lescalleet
francisco lopez
lasse marhaug
the new blockaders
jerome noetinger
prurient
rlw
damion romero
runzelstirn & gurgelstock
sudden infant
keith fullerton whitman
c.spencer yeh
otomo yoshihide

personally, i think this one is twice as good as rrr-500, when i sent out the invitations i specifically asked for harsh and aggressive grooves and guess what? these guys know how to deliver the goods - all covers hand decorated by yours truely in my typical ron style.

thanks for your interest

previous artist:
richard lerman

...and that's everything in stock featuring jason lescalleet.
(why not take a look at the previous and next artists?)

next artist:
ron lessard