charanjit singh “synthesizing • ten ragas to a disco beat” double long playing record set

• raga bhairav
  
• raga lalit
  
• raga bhupali
  
  
• raga megh malhar
  
• raga yaman
  
• raga kalavati
  
  
• raga madhuvanti
  
• raga todi
  
  
• raga malkauns
  
• raga bairagi

march 2010 release ; gorgeous, european double-lp gatefold reissue of this oft whispered-about side :: ... purportedly recorded in india in 1982, the 10 morning-to-night ragas here were programmed, step-time style, into the era’s flagship xox boxes - the (then) maligned tb-303 “bass line” and tr-808 “rhythm composer”, then embellished with stray jupiter-8 flourish ... the results are mind-bottling ; mr. singh’s insanely prescient stylings (as mentioned elsewhere ad infinitum, predating phuture’s trax-label debut by a good 5 years) owe much to italo-germanic-disco’s production conceits, sure, but his frankly, awesome keyboard-solo abilities are up there with east-leaning minimalists like terry riley et.al & the levels of sheer looping repetition bring this much closer to mesmerizing pulse of the “private” synth / library-music universe’s era recordings than anything from the moogsploitation camp ... ultra-deluxe gatefold presents the album in chronological / conceptual order, with the first lp offering 6 tracks (3 per side) @ 33.3~, then the second the remaining 4 (2 per side) @ 45 (presumably for club / venue / outdoor p.a. applications) ... note to world ; i want to hear this music being played in every idiotic cafe, trend-jumping fashion boutique, between sets at every “ironic” williamsburg venue-dump, every pbr-stocked “rent party”, etc ... all summer, everywhere, non-stop (after which we can all take a short break) ... highly recommended !!!

bombay connection press release...

synthesizing – ten ragas to a disco beat by charanjit singh (india, 1982) until recently it wasn’t much more than some rumours on the web: a 1982 released lp called ten ragas to a disco beat containing kraftwerk-like acid house music, years before the genre was invented. so it turns out, the record was no rumour. only a few hundred copies of the lp were ever pressed, and only a handful seem to have survived. moreover, the lp outdoes all expectations. performed on the synths that would later define acid house, the roland tb-303 and tr-808, the album sounds light years ahead of its time with its repetitive beats and hypnotic electronic melodies. its maker, bollywood session musician charanjit singh, set out to translate ancient indian classical ragas to the modern synthesizer and in doing so seems to have invented house music along the way. the 10 tracks make a consistent listen from a to z. its restrained minimalism and lack of cheesiness makes it incredibly contemporary, sounding animated, fluid and unabashedly alive.

charanjit singh “synthesizing • ten ragas to a disco beat” compact disc

• raga bhairav (5:00)
  
• raga lalit (4:56)
  
• raga bhupali (4:54)
  
• raga todi (4:53)
  
• raga madhuvanti (4:59)
  
• raga megh malhar (5:02)
  
• raga yaman (5:07)
  
• raga kalavati (5:08)
  
• raga malkauns (5:03)
  
• raga bairagi (5:08)

march 2010 release ; cd reissue of this oft whispered-about side :: ... purportedly recorded in india in 1982, the 10 morning-to-night ragas here were programmed, step-time style, into the era’s flagship xox boxes - the (then) maligned tb-303 “bass line” and tr-808 “rhythm composer”, then embellished with stray jupiter-8 flourish ... the results are mind-bottling ; mr. singh’s insanely prescient stylings (as mentioned elsewhere ad infinitum, predating phuture’s trax-label debut by a good 5 years) owe much to italo-germanic-disco’s production conceits, sure, but his frankly, awesome keyboard-solo abilities are up there with east-leaning minimalists like terry riley et.al & the levels of sheer looping repetition bring this much closer to mesmerizing pulse of the “private” synth / library-music universe’s era recordings than anything from the moogsploitation camp ... lovely 6-panel digipack presents the album in chronological / conceptual order ... note to world ; i want to hear this music being played in every idiotic cafe, trend-jumping fashion boutique, between sets at every “ironic” williamsburg venue-dump, every pbr-stocked “rent party”, etc ... all summer, everywhere, non-stop (after which we can all take a short break) ... highly recommended !!!

bombay connection press release...

synthesizing – ten ragas to a disco beat by charanjit singh (india, 1982) until recently it wasn’t much more than some rumours on the web: a 1982 released lp called ten ragas to a disco beat containing kraftwerk-like acid house music, years before the genre was invented. so it turns out, the record was no rumour. only a few hundred copies of the lp were ever pressed, and only a handful seem to have survived. moreover, the lp outdoes all expectations. performed on the synths that would later define acid house, the roland tb-303 and tr-808, the album sounds light years ahead of its time with its repetitive beats and hypnotic electronic melodies. its maker, bollywood session musician charanjit singh, set out to translate ancient indian classical ragas to the modern synthesizer and in doing so seems to have invented house music along the way. the 10 tracks make a consistent listen from a to z. its restrained minimalism and lack of cheesiness makes it incredibly contemporary, sounding animated, fluid and unabashedly alive.

james rushford / joe talia “manhunter” long playing record

• manhunter (1)
  
  
• manhunter (2)

the shadow ring “remains unchanged” double long playing record set

• candle meat
  
• squawk with me
  
• evil & good
  
• birds & booze
  
• squawk with me
  
• media egg
  
  
• tiny creatures
  
• so what of
  
• trying to find
  
• hold onto i.d.
  
  
• the world phone
  
• salt waves
  
• alcove hair & hand
  
• kako dresso
  
• when entrance celebrates champagne
  
  
• the flowing
  
• people
  
• shallows
  
• their minds
  
• and what if

kye press release...

kye 21: the shadow ring 'remains unchanged' 2lp remains unchanged is the long-time-coming archival overview of the shadow ring. spanning the full decade of their existence, remains unchanged offers an alternate account of the group's labor, told through 20 never-before-heard tracks. from the lumbering monotony of 1993's squawk with me, to the funereal glory of 2003's and what if, remains unchanged grants the listener rare access to the secret history of cheriton's greatest underground export. mastered from the original tapes by jason lescalleet, remains unchanged arrives in a full color high gloss gatefold sleeve, with fold-out wall poster in an edition of 1000 copies.

fossils / darksmith “million year spree” long playing record

• fossils - wider knowledge of man i-iii
  
• fossils - snared on broadway
  
  
• darksmith - anything that makes a man happy
  
• darksmith - operating chair & voice / out with the evening trash

moniek darge “crete soundies” compact disc

• magnesia (20:03) 2006
  
• anemos (19:58) 2007
  
• east crete (20:00) 2008-2009

kye press release...

kye is pleased to announce the release of crete soundies, the major new work by moniek darge, and the follow-up to last years soundies (1980-2001) cd. crete soundies presents three new pieces - magnesia (2006), anemos (2007) and east crete (2008-2009). these works were born from two years of levka ori sound research, and an additional year in east crete in collaboration with fellow sound artist francoise vanhecke. moniek darge was born in bruges, 1952 and studied music theory and violin at the music conservatory of bruges, painting at the ghent royal academy of fine arts; art history, philosophy and anthropology at the university of ghent, belgium. she is active as composer, violinist, performer and audio artist and has built light and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. since 1970 she has performed around the world and has been active on stage, first with the logos ensemble, then with logos duo (together with godfired-willem raes), and more recently with the m&m robot ensemble. she also founded logos women, a small group specialised in intermedia improvisations performing their own compositions for various instruments, voices and music boxes. she's often invited by international artists to collaboration. in 1986 the third program of the national belgian radio broadcasted a series of programs about her concerts and performances in new york city and about some artists with whom she collaborated there. a similar program was made about her music experiences in kenya and rwanda. and later on also about japan, china, bresil, australia, new zealand etc. she herself also realised radio programs about women artists over the world. in 1997 she received the title of cultural embassador of flanders for the logos duo. moniek darge published several journalistic and literary essays, amongst which "inter media myths, auto-author" (1986), an art edition, combining poetry, drawings, scores and pictures (toronto, art metropole-catalogue no.12) and the book "lijf tegen lijf" (body against body, kritak, leuven, 1982). she's general editor of the 'logos-blad', the monthly magazine of the logos foundation, which appears already during more than 30 years and in which she also tells her international music travel experiences. many international magazines published her articles. besides her many concerts and performances all over the world and besides her activities as organiser, moniek darge is assistant professor at the "hogeschool gent" where she teaches 20th century art history, audio art and non western art studies at the fine arts department and an introductionary course in ethnomusicology at the music department. crete soundies comes housed in 6-panel digipak, in an edition of 500, and is released with the support of the flemish government.

moniek darge “soundies • selected work 1980-2001” compact disc

• sand (22:34) 1980
  
• stormfugle (7:19) 1981
  
• fairy tale (6:46) 1983
  
• harpje (0:32) 1995
  
• caete (6:11) 1997
  
• verbondenheid (11:48) 1999
  
• turning wheel (8:53) 2001

kye press release...

moniek darge soundies (selected work 1980-2001) (kye 05) moniek darge has been active as a composer, violinist, performer and audio artist since the early 70s. she is most widely recognized as one half of the pioneering new music group logos duo alongside her partner godfried-willem raes. the logos duo, which operates under the umbrella of the logos foundation, have been celebrated both at home in their native gent, belgium and on the international stage. they have performed their work in countries as diverse as brazil, new zealand, japan and the us. however, moniek's solo work has been harder to locate, the last published collection being sounds of sacred places (igloo records, 1987). soundies is the first in a series of releases from kye that aims to bring moniek's solo material before a wider audience. soundies contains the following work: sand (1980) - for two percussionists with tape (electronics) and one participant from the audience / stormfugle (1981) - for two performers, voice, tape (electronics and voice), slides, film, clarinet and violin / fairy tale (1983) - for vocals, violin and tape (koala sounds and dog-growling) / harpje (1995) - for harp samples and performance / caete (1997) - for soundscapes, live musical objects and duo / verbondenheid (1999) - for voices, turkish turtle and live musicians / turning wheel (2001) - for voice, live violin and soundscape. comes in an attractive 4-panel digipak graced with original art by moniek.

belong “common era” long playing record

• come see (5:27)
  
• never came close (4:14)
  
• a walk (5:02)
  
• perfect life (4:29)
  
  
• keep still (4:39)
  
• different heart (5:29)
  
• make me return (4:33)
  
• common era (4:08)
  
• very careful (3:20)

belong “common era” compact disc

• come see (5:27)
  
• never came close (4:14)
  
• a walk (5:02)
  
• perfect life (4:29)
  
• keep still (4:39)
  
• different heart (5:29)
  
• make me return (4:33)
  
• common era (4:08)
  
• very careful (3:20)

kranky press release...

artist: belong title: common era catalog #: krank155 release date: march 21, 2011 it's been five years since the last belong long player, as the duo works slowly to organize their sound works. both the time invested, and the wait, have been well rewarded with this return. common era shows extraordinary progression from that first album of dense, scorched earth instrumentals, hints of a new direction having been revealed on the colorloss record ep from 2008 which contained covers of four should-have-been classics from the original psychedelic era. the new material has such common pop elements as "songs," vocals and drum machines, but the results could hardly be called conventional and are like little else happening on the current "scene." the songs themselves are akin to radio transmissions received from another time and place, just as likely to be the future as the past, or even from a contemporary alternate universe. they are both passionate and dispassionate, grey yet technicolor, ghostly and palpable, distant yet immediate, grainy and focused. upon listening these conceptual contradictions are dismissed with ease, as the recordings reveal that they fit all of these descriptors simultaneously, an extraordinary balancing act.

tim hecker “ravedeath, 1972” double long playing record set

• the piano drop (2:54)
  
• in the fog i (4:52)
  
• in the fog ii (6:01)
  
  
• in the fog iii (5:01)
  
• no drums (3:24)
  
• hatred of music i (6:11)
  
  
• hatred of music ii (4:22)
  
• analog paralysis, 1978 (3:52)
  
• studio suicide, 1980 (3:25)
  
  
• in the air i (4:12)
  
• in the air ii (4:08)
  
• in the air iii (4:02)

kranky press release...

artist: tim hecker title: ravedeath, 1972 catalog #: krank 154 release date: february 14, 2011 tim hecker's latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. recorded in a church in reykjavik, iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. in reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. it is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. while the title of the piece "hatred of music" might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. historical rituals of destroying pianos, mountains of pirated cdrs pushed by bulldozers in eastern europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. they also really didn't at all. despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases hecker's continued mastery of organizing sound into a visceral near entity. it is an almost physical presence that the listener feels as much as hears. this work is a significant contribution to hecker's oeuvre, one which spans over ten years of musical production. ravedeath is an enigmatic document of beauty and force. the album was recorded mostly over the period of one day in july of 2010. iceland-based musician ben frost assisted with the engineering and performs on this recording.

tim hecker “ravedeath, 1972” compact disc

• the piano drop (2:54)
  
• in the fog i (4:52)
  
• in the fog ii (6:01)
  
• in the fog iii (5:01)
  
• no drums (3:24)
  
• hatred of music i (6:11)
  
• hatred of music ii (4:22)
  
• analog paralysis, 1978 (3:52)
  
• studio suicide, 1980 (3:25)
  
• in the air i (4:12)
  
• in the air ii (4:08)
  
• in the air iii (4:02)

kranky press release...

artist: tim hecker title: ravedeath, 1972 catalog #: krank154 release date: february 14, 2011 tim hecker's latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. recorded in a church in reykjavik, iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. in reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. it is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. while the title of the piece "hatred of music" might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. historical rituals of destroying pianos, mountains of pirated cdrs pushed by bulldozers in eastern europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. they also really didn't at all. despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases hecker's continued mastery of organizing sound into a visceral near entity. it is an almost physical presence that the listener feels as much as hears. this work is a significant contribution to hecker's oeuvre, one which spans over ten years of musical production. ravedeath is an enigmatic document of beauty and force. the album was recorded mostly over the period of one day in july of 2010. iceland-based musician ben frost assisted with the engineering and performs on this recording.

low “christmas” long playing record

• just like christmas
  
• long way around the sea
  
• little drummer boy
  
• if you were born today
  
  
• blue christmas
  
• silent night
  
• taking down the tree
  
• one special gift

kranky press release...

artist: low title: christmas catalog #: krank153 / cku001 release date: october 25, 2010 first time vinyl release for this classic low holiday recording. we would suggest that few bands from an ostensibly "indie rock" background should release christmas music, if not out of respect for the holiday or material then at least out of a sense of self-esteem. low, however, were made for this. their attention to musical detail combined with the heavenly vocal harmonies of alan sparhawk and mimi parker are perfectly attuned to both traditional carols like "silent night" and more contemporary tunes such as "blue christmas." christmas contains a selection of seasonal songs, including four originals by the band, mostly recorded at low's 20° below studio in duluth, mn. "if you were born today" and "blue christmas" were released as a 7 inch single in 1997 on the english wurlitzer jukebox label, while "taking down the tree" is taken from a 1998 compilation of live recordings issue by the dutch vpro radio station.

pan•american “for waiting, for chasing” long playing record

• love song (7:24)
  
• are you ready? (5:02)
  
• dr. christian (5:36)
  
• still swimming (1:47)
  
  
• from here (5:52)
  
• the penguin speaks (5:52)
  
• amulls (9:43)

pan•american “for waiting, for chasing” compact disc

• love song (7:24)
  
• are you ready? (5:02)
  
• dr. christian (5:36)
  
• still swimming (1:47)
  
• from here (5:52)
  
• the penguin speaks (5:52)
  
• amulls (9:43)

kranky press release...

artist: pan•american title: for waiting, for chasing catalog #: krank152 release date: november 15, 2010 for waiting, for chasing was originally issued in a limited pressing by the stefan németh (radian) curated mosz label in 2006. this is the first time it is being made widely available in north america and elsewhere, and also the first time it is being issued on the vinyl lp format. as mosz eloquently stated at the time of release : ...it is not about the process or the media, which have been used. it is about how elements and structures are put in a detailed relation to each other, ending up in a slow-moving, breathing organism. filaments of percussive elements condense to polyrhythmic elements, layers of sound, instruments and field recordings merge to build up a mystic parallel, not so much fictional world. perhaps the most skeletal and minimal of all of the works in the pan•american canon, it may also be the most compelling.

disappears “guider” long playing record

• superstition (1:52)
  
• not romantic (3:16)
  
• halo (3:54)
  
• guider (3:13)
  
• new fast (2:47)
  
  
• revisiting (15:58)

disappears “guider” compact disc

• superstition (1:52)
  
• not romantic (3:16)
  
• halo (3:54)
  
• guider (3:13)
  
• new fast (2:47)
  
• revisiting (15:58)

kranky press release...

artist: disappears title: guider catalog #: krank151 release date: january 17, 2011 2010 was a busy year for the disappears. they finally saw their debut album lux released, they did a fair amount of touring, and they recorded this new album. having worked these new songs into proper shape in the live setting, they went into the studio and ripped through the recordings, using the first take on all but one of the tracks. and disappears are so much about the now and not the then that they recorded over the same reels of tape that they used for their first album. “guider” means to control or influence, which is what all the songs ended up being about in one form or another. this is a heads down, blinders on, damn the distractions, forward driving, controlled squall. drop the needle, turn up the volume and surrender to the delicious.

brian mcbride “the effective disconnect” long playing record

• mélodrames télégraphiés (in b major 7th) part 1 (5:26)
  
• mélodrames télégraphiés (in b major 7th) part 2 (4:13)
  
• girl nap (3:51)
  
• several tries (in an unelevated style) (7:45)
  
  
• supposed essay on the piano (b major piano adagietto) (4:10)
  
• toil theme part 1 (2:30)
  
• toil theme part 2 (2:44)
  
• toil theme part 3 (2:27)
  
• beekeepers vs warfare chemicals (4:13)
  
• i know that you don't like the future like i do (3:09)
  
• chamber minuet (2:44)

brian mcbride “the effective disconnect” compact disc

• mélodrames télégraphiés (in b major 7th) part 1 (5:26)
  
• mélodrames télégraphiés (in b major 7th) part 2 (4:13)
  
• girl nap (3:51)
  
• several tries (in an unelevated style) (7:45)
  
• supposed essay on the piano (b major piano adagietto) (4:10)
  
• toil theme part 1 (2:30)
  
• toil theme part 2 (2:44)
  
• toil theme part 3 (2:27)
  
• beekeepers vs warfare chemicals (4:13)
  
• i know that you don't like the future like i do (3:09)
  
• chamber minuet (2:44)

kranky press release...

artist: brian mcbride title: the effective disconnect catalog #: krank150 release date: october 25, 2010 from brian mcbride: when george and myriam approached me to compose for their film they suggested i concentrate on four different themes: the gloriousness of the bees, the endurance and hardships of traditional beekeepers, pesticides and the holistic nature of non-industrial agriculture. i was especially intrigued with the idea of combining some of their mournful aspirations with something more serene. composing began in may of 2009. i had decided to start fresh not using anything that i had already recorded. preparing the music for the film, i knew that i needed to provide more built-in changes in the structure of the pieces to give george and myriam more flexibility. as i worked, i purposely distanced myself from the more continuous architecture employed in my previous recordings in favor of several mini-suites. in the thinking about the music, i hoped that the pieces would do justice to the ‘gloriousness of the bees’ theme, striving for a more overt hopeful quality. but old traditions die-hard and the hopeful side of the music was eventually more subsumed by the lamentable. i should also mention that if you have seen the film, this record will not contain all the music used and scored for this film. i am incredibly honored to be a part of this project even if the final compositions turned out to be more appropriate for a different and more forlorn film. i know you have a lot to think about in this world but if you care about food or the world around us, you deserve to at least consider the arguments within this honest and real piece of film-making.

benoît pioulard “lasted” long playing record

• purse discusses (2:50)
  
• sault (3:18)
  
• rto (3:44)
  
• gloss (1:50)
  
• tie (3:25)
  
• shouting distance (3:07)
  
• fluoresce (2:20)
  
  
• lasted (2:52)
  
• weird door (1:10)
  
• ailleurs (2:57)
  
• passenger (1:05)
  
• tack & tower (3:28)
  
• a coin on the tongue (2:40)
  
• nod (5:23)

benoît pioulard “lasted” compact disc

• purse discusses (2:50)
  
• sault (3:18)
  
• rto (3:44)
  
• gloss (1:50)
  
• tie (3:25)
  
• shouting distance (3:07)
  
• fluoresce (2:20)
  
• lasted (2:52)
  
• weird door (1:10)
  
• ailleurs (2:57)
  
• passenger (1:05)
  
• tack & tower (3:28)
  
• a coin on the tongue (2:40)
  
• nod (5:23)

kranky press release...

artist: benoit pioulard title: lasted catalog #: krank145 release date: october 11, 2010 lasted is the third album by thomas meluch under the alias benoit pioulard. thomas has toured throughout north america and europe since his last record, the process of which has had a marked impact on the development of these songs as lyrics and structures have been scrapped, tweaked and reworked in the live setting. as with previous albums it was recorded and mixed in domestic isolation, this time throughout the rainy season in his current home of portland, oregon. while the extent of the dreary climate's influence on the results is left to the listener's discretion, what is certain is that thomas has a preternatural ability to weave disparate sound components into a cohesive sonic tapestry, mixing a varied palette of field recordings and percussive elements along with melancholy melodies to create songs that recall - and are akin to - vespers of long-buried memories.

boduf songs “this alone above all else in spite of everything” long playing record

• bought myself a cat o'nine
  
• decapitation blues
  
• absolutely null and utterly void
  
• i have decided to pass through matter
  
  
• green they were, and golden eyed
  
• we get on slowly
  
• the giant umbilical cord that connects your brain to the centre of the universe
  
• i am going away and i am never coming back

kranky press release...

artist: boduf songs title: this alone above all else in spite of everything catalog #: krank144 release date: september 6, 2010 the fourth boduf songs extended play was created using mathew sweet's standard recording set up of a single microphone and a small array of instruments, but it comes with a few surprises - most notably the prominence of electric guitar, bass and stomping drums on a few tracks. all of the elements that make his previous sound creations so arresting are still present; the impeccable song structures, the minimal approach, the delicate yet dominant singing. the album opens with the naked sound of the hammers of an old upright piano striking strings, an apt metaphor for the lyrical content which is just as raw and exposed. mathew broadens his vocal approach here, exploring range and employing some unpredictable, well-placed harmonies. this alone above all else in spite of everything is effectively a concept record, and makes for a dramatic journey. mat states "there is a theme that runs through each song and the track order is paramount to that - it's a hugely important part of making a record work." so pay attention.

disappears “lux” long playing record

• gone completely (2:37)
  
• magics (3:56)
  
• pearly gates (3:40)
  
• marigold (3:14)
  
• not nothing (1:44)
  
  
• lux (3:55)
  
• old friend (2:08)
  
• little ghost (3:34)
  
• new cross (1:44)
  
• no other (2:34)

disappears “lux” compact disc

• gone completely (2:37)
  
• magics (3:56)
  
• pearly gates (3:40)
  
• marigold (3:14)
  
• not nothing (1:44)
  
• lux (3:55)
  
• old friend (2:08)
  
• little ghost (3:34)
  
• new cross (1:44)
  
• no other (2:34)

kranky press release...

artist: disappears title: lux catalog #: krank143 release date: april 12, 2010 this is the debut studio full length from this chicago quartet after two singles and a limited live album, all self-released by the band. disappears are that rarest of musical things, a 'rock' band affiliated with kranky. but at least they are a rock band and not some less than reasonable facsimilie, because let's face it; most bands using that descriptor would not sonically intimidate your grandmother if she were alone in a dark alley. and deliver the granite the disappears do from the opening chords, delivering scuzzy, driving rhythms that certainly imply a threat of ill will. drawing on a combined reverence for reverb, heavy tremolo, distortion, delay and repetition, disappears play minimal rock music inspired by krautrock, punk rock, the mid 80's new zealand scene, and a bit of everything in between. and in their minimalist approach the band finds their real strength, hammering home chord structures that are tried and true and can and do remain fresh in the hands of the right talents such as these. as a wise man once said, "keep it simple stupid".

jonas reinhardt “powers of audition” long playing record

• mumma deed family clone (2:16)
  
• atomic bomb living (6:12)
  
• orbiter dicta (7:04)
  
• only you can achive nitrogen (4:04)
  
  
• near a mirrored pit viper (4:30)
  
• powers of audition (5:09)
  
• wastrel eyelid (9:36)

jonas reinhardt “powers of audition” compact disc

• mumma deed family clone (2:16)
  
• atomic bomb living (6:12)
  
• orbiter dicta (7:04)
  
• only you can achive nitrogen (4:04)
  
• near a mirrored pit viper (4:30)
  
• powers of audition (5:09)
  
• wastrel eyelid (9:36)

kranky press release...

artist: jonas reinhardt title: powers of audition catalog #: krank142 release date: march 15, 2010 jonas reinhardt continues his cosmic flight inward on this latest release. the instrumentation from his debut album expands here to include acoustic drum patterns, guitars, and woodwinds alongside synthesizers and electronics. together, these voices seamlessly twist and meld into a singular aural journey. this is music of the spheres for an electronic era where new age visions are re-imagined through a lens of experimental rock. the titular concept behind the album, drawn from ideas of the post-war avant-garde, refers simply to the human capacity to audition sound and fill in blanks where the composer leaves space for interpretation. jonas explains: each of the songs is meant to engage the listener's innate power of audition to fill in intentionally left blanks. these occur throughout the recording where there is either diminished narrative resolution or explicit sectional movement meant to provoke an auditory response. the result is a mesmerizing journey to cracked and digitized moonscapes where reinhardt's transparent relationship with instruments, sound, and form are made whole and hints of a beat-centered future are just around the corner.