Alessandro Pizzin's production work resonates far and wide throughout
the prolific music scene of 1980s Venice, Italy. His work as one half
of the influential experimental combo RUINS gave way to his later
productions as a founding member of the acclaimed ambient electronic
group Wind Project, whose whose complete works were recently reissued on
CD. Though Pizzin's sonic fingerprint is present throughout many
landmark recordings of the minimalist and experimental Venetian music
scene, his groundbreaking works as a solo producer were only quietly
released on his own EXPLORA label in the early 1990s - until now.
A seamless mix of the organic and inorganic, the
recent past and distant future, and the possible and impossible,
Japanese multi-media artist Masumi Hara's sophomore album arrived like a
fish on the moon in 1984. An album filled with contradiction and
purpose, 4 X A Dream is both Balearic acid folk and damaged steel drum
dub, hi-tech new wave balladry and ambient synth pop. Classical and
neo-impressionist vibes haunt and entrance. Quite possibly the most
unique LP you'll ever add to your collection.
Can music be classic and contemporary at the same time? Can it contain a secret genetic code in which the summary of the past, the present pulse, and the future view are hidden? Be ahead of it's time and not lose relevance along the way? Let's Call It A Day, the first album collaboration of German authors Move D (David Moufang) and Benjamin Brunn, proves it is not only possible hypothetically, but can also live amongst us. First appearing on a CD via Bine Music in 2006, it is now remastered here by Calyx and on vinyl for the first time ever. This is a complete piece built from seven sections, each one is a microcosm of unique textures, depth, ambience, emotions, programming, looping, and melodic rules; together they are a homogenous creation, a symphony that culminate in dance music experiencing elevation. Let's Call It A Day, which in a way is the big brother of Songs From The Beehive (SMALL 001CD/LP) - their exhilarating installment for Smallville from 2008 - is an album above the Zeitgeist. The way Moufang and Brunn fuse different genres together without committing to any musical doctrine, makes them appear prophetic. However, it is in no sense a retrospect feeling; even at the time it was clear that the perceptions, experience, vision, and delicacy of this album were outstanding. Every element here, every frequency, rhythm, turnaround or keyboard tapping, is the material from which masterpieces are made of. From the opening meditative, ever-evolving loops of "On The Magic Bus" to the abstract drones of "Grains" with it's almost nonexistent bass drum - like it was aimed to hit the ambient-house craze; through the mesmerizing dubbiness of "A", which sounds like a rave ending in an echo chamber and the constant micro-movement of the arpeggios in the title track; "Ω", which sounds like a soundtrack for a sinking submarine footage and the ambient downbeat of "C-Sick", which melts your heart from within; and finally the closer - the fragile and elegant beauty of "Magnetically Leviated Train". More than 76 minutes of diving constantly deeper and deeper. This new remastered version will feature a brand new and extra glossy Stefan Marx gatefold cover, that will give the perfect visual expression of the album's timeless music. And If there was ever a downside to Let's Call It A Day, it would be it's lack of a vinyl edition. Well, this is exactly what's being sorted out now, isn't it? Gatefold cover.
A Typical Night in the Pit is a collection of new music by Los Angeles' Nick Malkin. It is an album that finds the artist absorbed in the density and chaos of the urban complex. It is unquestionably an "LA album", but not the LA of hi-fi listening bars and twinkling, Instagram-ready new age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph - overheated, tense, hazy, frayed - with blue-lit, nocturnal compositions that at times recall Mark Isham's noirish scores for those subversive (anti-)Hollywood pictures.
Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of "Sixth Street Conversation" to the skulking menace of "Estacionamiento Privado", before giving way to the wide-eyed, cloudy closer "View From Two Perspectives". C'mon, let's go in here and get outta this heat. Artwork by Alex McCullough and Niall Wynne Lewis. Malkin released as Afterhours on Not Not Fun and is part of the LA Vampires. A Typical Night in the Pit follows Malkin's tape on Geographic North (2018). Mastered by Kassian Troyer at Dubplates & Mastering. First edition of 300 copies; artwork with gloss laminate finish.