PAN | Berlin | 2 April 2010
Four new LP's out now:
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SEWER ELECTION 'Vidöppna Sår ' LP (PAN 7)
Following on from his Kassettmusik release, 'Vidöppna Sår' is an evolution in scum-brow field recordings
and voice recorded to mono tape, akin to OU revue recorded on a building site. This record shows the
development, as witnessed from his recent live performances of aggressive blur build up and ominous
restraint, tape speed replacing effect pedals, going beyond the mere "junk noise" description closer to
the original idea of musique concrete, namely altering everyday sounds onto tape into a wholly other
vocabulary.
Sewer Election is Dan Johansson, based in Gothenburg, Sweden. He is most known for his extreme and
nasty noise on often limited edition cassettes and obscure vinyl releases on labels such as iDEAL, Troniks,
Chondritic Sound, Release the Bats!, Freak Animal, Segerhuva, Gameboy to name a few.. He is a member
of the swedish collective Utmarken and lo-fi group Ättestupa. What separates him from the rest of the
wall-of-noise- heads is that he is great at creating uncomfort and filth. To experience his stuff is like
experiencing pure power and energy through subtle and restrained soundscapes of a world falling into
pieces..
The Lp is mastered by Viktor Ottosson and cut by Rashad Becker at D&M, in a limited edition of 330
hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in
a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric
designs. All artwork by Kathryn Politis and Bill Kouligas.
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JOSEPH HAMMER 'I Love You, Please Love Me Too' LP (PAN 8)
With "I love you please love me too", Joseph Hammer continues his journey into playful yet heavily focused
idiot-savant infinite psychedelic inertia. Utilising consumer audio technology and 20th century detritus, Hammer
lovingly decodes his passion for mid century sci fi and AM radio station beyond all point of recognition like a
snakecharmer. Multi-dimensional audio collage techniques to a free form and completely unorthodox plunderphonic
hypnosis. Baked devotionals for tape loop minds.
Joseph Hammer, a sound artist from Los Angeles, has actively created experimental works since 1980 as
a member of the LAFMS collective. His practice draws on the complexities of the process of listening and
playing, reflecting on the role of the audience versus the performer, and uses music as it influences our notion
of time, memory and intimacy as the basis for improvisation and abstraction. In various collaborations, solo,
and as a founding member of the trio Solid Eye along with several other projects (Joe & Joe, Dinosaurs With
Horns, Dimmer, Points of Friction), Hammer has performed widely and is an influential contributor to the Los
Angeles underground scene.
The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies,
pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself
is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. All artwork by Kathryn
Politis and Bill Kouligas.
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EVAN PARKER & JOHN WIESE 'C-Section' LP (PAN 9)
British free jazz phenomenon Evan Parker with electronic and tape noise artist John Wiese in a set of
real-time evolving improvisations intended for maximum volume. Vinyl version of the CD released earlier
this year, but slightly different containing all the final mixes and edits of the sessions with a new and more
intense mastering for the maximum listening experience. C-Section finds density in scarcity - deep, glacial
muck bubbles emerge beneath Parker's inhuman circular breathing, only to plunge into an incessant clatter
of industrial landscape.
Evan Parker is a free sax legend, best known for his work with Keith Rowe (AMM), Anthony Braxton, Joe
McPhee, Cecil Taylor, Peter Brotzmann (including on his epochal 'Machine Gun'), Derek Bailey, and for his
inspired, individualistic take on musical freedom. Being the UK's equivalent of Peter Brotzmann means that
as far as free jazz saxophonists go, Evan Parker has very few equals. Hugely respected with a rich and varied
back catalogue, Parker has graced the cream of the free jazz racks for the last forty years.
John Wiese is an artist and composer from Los Angeles, California. His recent works have a focus on installation
and multi-channel diffusions, as well as scoring for large ensembles. He has toured extensively throughout the
world, covering the US, UK, Europe, Scandinavia, Japan, Australia, and New Zealand. He is also a founding
member of the concrète grindcore band Sissy Spacek.
The Lp is mastered by Diane Maroney, cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered
copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which
itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. All artwork by Kathryn
Politis and Bill Kouligas.
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BILLY BAO 'Urban Disease' LP (PAN 11)
'Urban Disease' is the new radical work by Billy Bao, Mattin, Taku Unami, Tim Barnes, Barry Weisblat and
Margarida Garcia.
It's important to remember that before Mattin and anarchism ruined his life, Billy Bao was a bit of a troubadour
who accompanied himself on acoustic guitar and warbled wild songs of protest in his native Nigerian patois.
This new album, his third on vinyl, finds Billy in a transitional phase toward the end of 2006, before the
gaztetxes of Bilbao burrowed into his marrow, before Mattin became the Merle to his G.G., before Billy turned
into herpes sore in the mouth of global capitalism.
"Billy doesn't believe in hypnagogia," we're told, "because he always sleeps with one eye open, and when he
dreams, all he sees is AIDS denialists, German shepherds, and soldiers disguised as UN peacekeepers. "
Before Taku Unami fucked it up, this session found Bao relaxed and in high spirits as he conducted a pickup
band of itinerant improvisers through a song-by-song cover of Amon Düül's Psychedelic Underground. Margarida
Garcia lent her astounding skill and highly personal idiom on the electric double-bass, in her hands an instrument
with the tension of string on wood and the disruptive potential of a crackle box. Barry Weisblat, meanwhile, teased
out a century of drone from a Cornell lunchbox of filament and circuitry. Who better to play drums and percussion
than the sainted Tim Barnes? Mattin, thumb and forefinger compulsively pinching or stroking his Hitler mustache
after every take, funneled Billy's malaise through laptop, percussion, and folk instrumentation. There was even,
astonishingly, a women's choir on hand, eerily filling out the atmosphere with wordless vocals and incantations.
But this is after, and the result is a fragmentary, extremely loud hippie jam session punctuated by stretches of
uneasy silence and scrape.
The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl
and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a silk screened
pvc sleeve with original artwork by New York artist HENRY FLYNT.
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www.pan-act.com
