metabolismus “mauser o.k.” seven inch single record

• carousel
  
• do they owe us a living?
  
  
• asthma game
  
• supergenug

metal mountains “golden trees” long playing record

• structures in the sun
  
• orange/yellow
  
• the golden trees that shade us
  
  
• flickers within/without
  
• turn to the east
  
• silver sun
  
• prisms

metal mountains “golden trees” compact disc

• structures in the sun (5:47)
  
• orange/yellow (5:26)
  
• the golden trees that shade us (5:37)
  
• flickers within/without (4:28)
  
• turn to the east (5:04)
  
• silver sun (5:26)
  
• prisms (3:50)

amish press release...

ami 042 metal mountains golden trees cd golden trees is a minimalist psych-folk masterpiece. a supergroup of sorts, helen rush, pat gubler and samara lubelski have created seven songs characterized as much by quiet and restraint than by their acclaimed musicianship. the lyrical lines in these songs appear suspended between pregnant pauses of silence and subtle instrumental flourishes. on one side of the gap, samara lubelski's violin invokes the velvets and other avant string-players. on the other side, p.g. six layers effects and pointillist finger picking, while evoking outright weirdness from his guitar rig. at the center, helen rush has penned songs of delicate beauty and fragile intimacy. with matt valentine, helen and pat formed the core nucleus of tower recordings. samara also performed with later incarnations of tower, as well as hall of fame, thurston moore's band, and as a solo-artist. where the early tower catalogue was characterized by schizophrenic studies in a variety of forms (folk, noise, drone, lo-fi skronk, etc), metal mountains' songs like "structures in the sun," "the golden trees that shade us" and "turn to the east" provide us with sonic beauty in high fidelity. though helen gave us a sample of her post-tower recordings-work with "silver sun," which we released on the and to the disciples that remain compilation, she here provides us with a rearranged treatment of that song, which along with "prisms" opens the folk idiom into a new minimalist terrain. we've been waiting more than ten years to explore this sonic space, which in music industry dog years, amounts to almost two centuries. this full-length is well worth the wait.

bird show band “bird show band” long playing record

• quintet one (9:09)
  
• little song (2:02)
  
• quartet (2:57)
  
• bsb synthesizer solo (2:36)
  
  
• quintet two (8:06)
  
• quintet three (5:55)
  
• quintet four (5:35)

bird show band “bird show band” compact disc

• quintet one (9:09)
  
• little song (2:02)
  
• quartet (2:57)
  
• bsb synthesizer solo (2:36)
  
• quintet two (8:06)
  
• quintet three (5:55)
  
• quintet four (5:35)

amish press release...

ami 041 bird show band s/t lp bird show band documents bird show's new collaborative spirit and stands as the culmination of ben vida's chicago-based work, featuring a who's who of the city's improvisational luminaries, including josh abrams, jim baker, dan bitney and john herndon. the improvisatory feel of the bird show band sessions function as vida's paean to the windy city. rather than another bird show release that involves guest accompaniment on select tracks, vida conceived of these recordings as a foray into session playing, tracking the entire album over just two days. while herndon and bitney's percussion invokes german psych, progressive rock, and jazz idioms, vida's synth-based experiments, here accompanied by jim baker's arp 2600, provide the first indication of his recent musical preoccupations, an interest that relies heavily on the moog and his own fluid, lyrical melodic lines. if you have had the luck of catching bird show or ben vida perform live over the last few years, you have witnessed the centrality he now gives to the moog and one-touch patchwork, experimental forays that point to europe and the mid-century avant-garde, especially the cologne-based innovations of stockhausen and his many students during the late 1960s and early 1970s. regardless of this description, bird show band is more than a mere intellectual exercise and the sessions balance brain with musical brawn in ways that vida has yet to achieve on his previous outings.

ben vida / keith fullerton whitman “splitaggregatepulseripper (damaged iiii) b/w 080114” long playing record

• ben vida - aggregatepulseripper (damaged iiii) (11:31)
  
  
• keith fullerton whitman - 080114 (18:20)

amish press release...

ami 033 r/w ben vida / keith fullerton whitman aggregatepulseripper (damaged iiii) / 080114 the third iteration in the required wreckers series, a split lp featuring new and exclusive work from ben vida and keith fullerton whitman (ami-033 r/w). having collaborated over the last decade as a trio with greg davis, this release features new solo-work by two of america's most important emerging sound artists. the first side of this release debuts a new composition from ben vida. in keeping with his recent patchwork-based compositions, aggregatepulseripper (damaged iiii) continues to explore vida's interest in both digital and analog control sources, a compositional process that refuses to fetishize one technology over another and, more interestingly, appears (though, of course, these appearances are deceptive) to displace the musician's hand from the compositional process. in light of vida's early work with the acoustic ensemble, town and country, and the world music and concrete studies of his solo project, bird show, this new compositional method should not be overemphasized. for this piece, vida creates a complex web of patches that change and morph in what he has contextualized as a series of shifting generative patterns. the subtitle of his piece references how these patterns coalesce in aggressive, almost hardcore, clusters of sound that refuse to slip into contemplative or mystical arenas that so many in today's electronic music reference in relation to their work. vida's composition opts instead to remain engaged in the phenomenal and spatial forces that shape our perception of sound. the flipside of this lp features keith fullerton whitman's third in a series of splits (previous releases have included no fun production's b/w carlos giffoni and amethyst sunset's b/w with mike shiflet) documenting a particularly productive period in his creative output - a series of "synth concerts" from 2007 and 2008. recorded on january 14, 2008 at pa's lounge in somerville, ma, this piece documents the fourth in whitman's solo synthesizer sets. his technical set-up is based around a theme (and circuitry) of economy, in which the artist makes use of each cv-source in a variety of fashions. throughout the recording one can discern talking from the audience and ambient room-tone noise, as well as sound coming from different sources spread throughout the room - a small battery powered speaker on stage right, a giant barbetta on stage left. each speaker was fed into a different patch irrespective of its frequency response. whitman uses a hybrid system of digital and analog sound sources that, with the exception of a single 4096 bd delay, is presented here without treatment, overdub, or sequencing of any sort. new york-based artist meredyth spark provides the cover art and sixteen-page booklet for this release. sparks has been assisting amish for the last few years with design and layout. this is the first release to exclusively feature her work. the images and design elements for the cover art come from her extraction series (in truth, the front and back covers are extractions of her extractions), paintings and collages that draw heavily from the aleatory methods and analog/digital processes that both vida and whitman utilize in their recordings.

son of earth “improvements” long playing record

• time immemorial
  
• muttering triumph
  
• slow shakes
  
  
• gone to float
  
• upward impetus
  
• a function observed

amish press release...

ami 031 r/w son of earth improvements lp beginning a decade ago in a pre-weird america, son of earth has traveled a surprisingly linear trajectory through noise and collective improvisation to a simple, quiet, and more considered music. the band's path has led through hundreds of performances and collaborations (including shackamaxon, which brought together all three members of son of earth with marcia bassett and chris gray of double leopards and pete nolan of the magik markers), but has resulted in only a handful of releases, often handcrafted and released on the group's apostasy recordings label. while still being filled with the unease and tension that is their hallmark, improvements is the first record that also allows the humor and camaraderie between the members of son of earth to come to the fore. most of their previous releases have been culled from live recordings, and the group has always thrived on the tension of live performance. earlier studio efforts, such as the acclaimed pet lp, though recorded at home, were composed in an everyone-has-to-be-serious approximation of the live performance experience. this time, possibly for the first time, in a sweaty little room, and in a stairwell, and in a back yard tossing horseshoes in holyoke, massachusetts, the group finally dropped all pretense - not of seriousness, but of obligation to some unseen spectator. on improvements, you can really hear john shaw, matt krefting, and aaron rosenblum being themselves, and being son of earth and it's weird. manchester-bred, rick myers, who has worked with john cale, andy votel, dinosaur jr. and badly drawn boy and has created books with nieves zurich & gladtree press to name a few, provides us with the beautiful art and design-work for the lp jackets. lp comes wrapped in letter-pressed band and contains a 16-page art book by rick.