SHROUD OF VAPOUR (Hiroshi Hasegawa/Rohco/L’eclipse Nue & Yoshiko Honda) – Suicide Forest Sessions CD Out Now!

Hiroshi Hasegawa, Rohco, L'eclipse Nue & Yoshiko Honda Suicide Forest Sessions

SHROUD OF VAPOUR (Hiroshi Hasegawa/Rohco/L’eclipse Nue/Yoshiko Honda) – Suicide Forest Sessions CD (4iB013):

TRACK LISTING
1. In Memory Of (48:50)
2. If It Pleases The Deceased (19:09)

Details:
– CD in Jewel Case
– Limited Edition 250 Copies

PRICE (Including Airmail Shipping from Singapore): USD16
To Purchase, Please Go Here.

SHROUD OF VAPOUR (Hiroshi Hasegawa/Rohco/L’eclipse Nue & Yoshiko Honda) – Suicide Forest Sessions
Hiroshi Hasegawa, Rohco, L’eclipse Nue (Daniel Sine) and Yoshiko Honda collaborate with one another as Shroud of Vapour in this special project entitled Suicide Forest Sessions. The Suicide Forest in Aokigahara, Japan serves as the recording ground due to its strong historic association with demons in Japanese mythology as well as being a popular place for suicide in Japan. The dense forest and it’s still quiet void of almost all wildlife bring out the very nature of the artists true intent, reflecting the atmosphere of desolation and despair of a haunted suicide ground. The weaving in and out of distant female wails and ambient like soundscapes seem to echo the lost spirits of those that have chosen to take their own lives here. This entire project was recorded using only equipment that required no electricity and relied purely on battery power. Strangely enough, out of a total of 3 recordings that were done that day, only 2 were able to be retrieved, and are thus presented here in their true form.

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Please direct all enquiries to:

4iB Records
PO Box 206
Singapore 914007
email: gerald@4ibrecords.com
www.4ibrecords.com

 

PSICOPOMPO (Hermann Kopp + Lorenzo Abattoir) – Synchronicity (Theory of Carl Jung) CD Out Now!

HERMANN KOPP LORENZO ABATTOIR PSICOPOMPO Cover

Lorenzo Abattoir, Nascitari, Hermann Kopp

PSICOPOMPO (Hermann Kopp + Lorenzo Abattoir) – Synchronicity (Theory of Carl Jung) CD (4iB012):

TRACK LISTING
1. Lorenzo Abattoir – Blackfrock
2. Hermann Kopp – Trovatore
3. PP1
4. PP2
5. PP3
6. PP4

Details:
– CD in Jewel Case
– Limited Edition 250 Copies

PRICE (Including Airmail Shipping from Singapore): USD16
To Purchase, Please Go Here.

PSICOPOMPO (Hermann Kopp + Lorenzo Abattoir) – Synchronicity (Theory of Carl Jung)
Psicopompo is the death guide that accompanies the dying to the afterworld. Synchronicity is the occurrence of two or more events that appear to be meaningfully related but not causally related. From the conceptualization of these two themes combined, German composer/musician Hermann Kopp (of Jorg Buttgereit’s Nekromantik and Der Todesking soundtracks) and Italian Noise Experimentalist Lorenzo Abattoir (Nascitari) merge their unique compositional techniques and source equipment (Hermann Kopp: Violin, Tambourine, Electronics / Lorenzo Abattoir: Shruti Box, Timbal & electronics), leaving the results entirely to chance. The final result is the unity of an audio event joining together 2 separate executions of melody and rhythm without any post production or added effects, bringing out the forlorn emotions of being on the journey to the new world upon death.

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Please direct all enquiries to:

4iB Records
PO Box 206
Singapore 914007
email: gerald@4ibrecords.com
www.4ibrecords.com

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Sutcliffe Jugend - Pursuit of Pleasure Outer Record Cover


ARTIST: SUTCLIFFE JUGEND
TITLE: Pursuit of Pleasure
CAT NO: 4iB LP/0811/001
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Autogen Album Cover

ARTIST: AUTOGEN
TITLE: Mutagen
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Autogen Album Cover

ARTIST: SUTCLIFFE JUGEND and JUNKO (非常階段/Hijokaidan)
TITLE: Sans Palatine Uvula
CAT NO: 4iB CD/0513/003
FORMAT: CD in Gatefold Sleeve + 8pp Booklet (Ltd/No’d 500 Copies)
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HIROSHI HASEGAWA:POSITIVE ADJUSTMENTS - Cryptic Void (Main Cover)

ARTIST: HIROSHI HASEGAWA (C.C.C.C./Astro)/POSITIVE ADJUSTMENTS
TITLE: Cryptic Void
CAT NO: 4iB CD/1013/004
FORMAT: CD in Gatefold Sleeve + 12pp Booklet (Ltd/No’d 250 Copies)
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K2:GX - Convulsing Vestibular (Main Gatefold Cover) (Resized)

ARTIST: K2 (Kimihide Kusafuka)/GX Jupitter-Larsen (The Haters/Survival Research Laboratories)
TITLE: Convulsing Vestibular
CAT NO: 4iB CD/1213/005
FORMAT: Digipack CD (Ltd/No’d 250 Copies)
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Main Cover

ARTIST: MAURIZIO BIANCHI MEETS ROADSIDE PICNIC
TITLE: Dictatorship of Dead Labour
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TNG & CTD - Negative Mass 10%22 (Front - Edited)

ARTIST: THE NEW BLOCKADERS & CREATION THROUGH DESTRUCTION
TITLE: Negative Mass
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VOMIR - recouvre la merde CD (Main Cover - Front Right)

ARTIST: VOMIR
TITLE: recouvre la merde
CAT NO: 4iB CD/0714/008
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ARTIST: NAEVUS
TITLE: Backsaddling
CAT NO: 4iB 7″/0814/009
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The Rita - Female Statuesque 7%22 (Front Cover)

ARTIST: THE RITA
TITLE: Female Statuesque (Female Titans)
CAT NO: 4iB 7″/1014/010
FORMAT: 7″ + Insert (Ltd/No’d 200 Copies)
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DEAD BODY COLLECTION - Quite Unreachable Hell 7%22 (Cover)

ARTIST: DEAD BODY COLLECTION (Delayed Due To RSD)
TITLE: Quite Unreachable Hell
CAT NO: 4iB 7″/1214/011
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HERMANN KOPP LORENZO ABATTOIR PSICOPOMPO Cover

ARTIST: PSICOPOMPO (Hermann Kopp + Lorenzo Abattoir)
TITLE: Synchronicity (Theory of Carl Jung)
CAT NO: 4iB CD/0115/012
FORMAT: CD (Ltd 250 Copies)
PRICE: (Incl. Airmail Postage from Singapore): USD16
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Suicide Forest Sessions

ARTIST: SHROUD OF VAPOUR (Hiroshi Hasegawa/Rohco/L’eclipse Nue/Yoshiko Honda) (Coming Soon!)
TITLE: Suicide Forest Sessions
CAT NO: 4iB CD/0114/013
FORMAT: CD (Ltd 250 Copies)
PRICE:To Be Advised

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Mizuchi Creation

ARTIST: KK NULL & DAO DE NOIZE (Coming Soon!)
TITLE: Mizuchi Creation
CAT NO: 4iB CD/1214/014
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Richard Ramirez Werewolf Jerusalem - Kept. Perverse. Mess LP (Artwork - Front) (Resized)

ARTIST: RICHARD RAMIREZ (Coming Soon!)
TITLE: Kept. Perverse. Mess
CAT NO: 4iB LP/0914/015
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Merzbow, Raven, Dao De Noize
ARTIST: MERZBOW/RAVEN/DAO DE NOIZE (Coming Soon!)
TITLE: Animal Liberation
CAT NO: 4iB CD/0514/016
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MAURIZIO BIANCHI
ARTIST: MAURIZIO BIANCHI (Coming Soon!)
TITLE: NH/HN
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FORMAT: CD (Ltd 250 Copies)
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> CYCLOBE – Visitors From Strange Galaxies by Karsten Wolniak

While it doesn’t really stay silent when it comes to two of the leading figures of experimental music, Cyclobe was surprisingly audible this year: Two concerts, during the CTM Berlin in January and the Unsound Festival in Krakow in October, and two reissued albums in March speak volumes. The Visitors, one of said reissues, was originally released 13 years ago. It lives up to its name: The album is filled with spherical and extraterrestrial sounds which may make one doubt that their creators originated from this planet.

Undoubted, however, is their adoration of the universe and nature, which strongly influences their music, allowing the listener to feel an authentic, pulsating touch of something living. A touch clearly recognizable within the wind murmuring through the leaves, as it appears in the record’s first track ‘Sentinels’. Even if you can’t quite put your finger on it, you’ll find nature within Cyclobe’s most cryptic, turbulent, and electronically altered soundscapes.

‘My pagan views influence my work in a profound way, it’s enormously important to me so it touches all aspects of my life, and very much so my creative work. It’s essential that our work conveys a sense of reverie, devotion.’, Ossian Brown names his spirituality as one of the predominant sources from which he draws said aural elements so closely linked to nature. ‘I don’t see how something electronic is any less pagan. In fact I’d like us to do a performance where all our electricity was generated by rotting vegetables.’, he states on the conflict that might be associated with these two key elements of their music.

The perhaps most earthly part of this otherworldly album is its new folk-like addition, the track ‘Son of Sons of Light’. A fruit of their labour with Michael J. York, whose bagpipes add an almost traditional aspect to the piece. The Visitors now provides almost an hour of ritual music for the accumulation of pagan energy – or alternatively, an hour of devotion to the vastness of the universe.

The reissue of Sulphur-Tarot-Garden contains no new track. Nevertheless, fans of experimental music have something to look forward to, considering that the original album, released in 2012 and dedicated to the English film director Derek Jarman, was strictly limited to 200 numbered copies. The whole album is an imaginative stimulus which provides more than 30 minutes of soundscapes that appear incredibly alien. While each piece of the album – ‘Sulphur’, ‘Tarot’, and ‘Garden of Luxor’ – has a very unique sound, they’re all united in their strangeness. An atmosphere created by mechanical stridulation and organic buzzing, a sound not quite conceivable. Something sacred, dedicated to the stars.

‘I can’t imagine not being interested in these things, the stars have fascinated me for as long as I can remember. It’s deep rooted in mankind in general really, to look up at the sky and wonder about the greater structure.’, explains Stephen Thrower their omnipresent interest in the universe, which runs like a golden thread through their work. ‘Star-light puts us in touch with the ancient past, too, of course. Light from the stars is millions or even billions of years old, these strings of photons ping against our retinas across unimaginable chasms of time. It makes your mind reel and your heart pound when you try to take in the enormity of the idea. Thinking about the beauty of the cosmos touches the same part of me that religion touches in others. I’d rather worship a pulsar!’

Ossian Brown explains the impact that their recreational drug use had on them, how their extraterrestrial sounds have – to a certain degree – a very terrestrial origin: ‘This experiences had an enormous influence on us, when you journey through these experiences, of course the effect remains, you return altered. I haven’t had any new experiences for many years, the last time was with Jhonn [Balance of the British experimental band Coil, which Stephen Thrower and Ossian Brown were permanent members of] in Russia, in the woods near Kaliningrad. I very much doubt I ever will again, but its fingerprints are all over my psyche. I’d say it’s certainly influenced our approach to composition, a certain sensibility that feeds into how we interpret sound and how we place it, the character we invest in it.’

He furthermore reveals that these two reissues won’t be all that we’ll be hearing from Cyclobe in the near future. The British music pioneers Stephen Thrower and Ossian Brown will soon be reaching out to us to share their impressions of planets yet unbeknown to us: ‘We’re currently working hard to finish our next full length album, the follow up to Wounded Galaxies Tap at The Window. Some of the pieces we’ve been performing versions of at our live concerts. We’re very excited and intrigued by the new work. We’re also working on a series of new recordings built around ideas I had been focusing on with my hurdy-gurdy. Initially the pieces came from combining the hurdy-gurdy with pipes, but the pieces have now expanded somewhat to include voice and electronics, Univox organs.’ It’s a stylistic characteristic of Cyclobe that the human voice serves as an instrument (as in ‘The Eclipser’) rather than by contributing any lyrical components.

The Visitors and Sulphur-Tarot-Garden can be ordered on CD or (double) 12″ vinyl LP from the shop on Cyclobe’s website.

(Source: http://karstenwolniak.com/2014/11/08/cyclobe-visitors-from-strange-galaxies/)

> THE RITA Live At Kunstpodium T in Tilburg on 14 Nov 2010

> This Music Bears Traces of Carnal Violence (An Interview with THE RITA by Kier-La Janisse for Spectacular Optical)

THIS MUSIC BEARS TRACES OF CARNAL VIOLENCE: An interview with THE RITA

(note: the following introduction appeared in an article I wrote for Rue Morgue Magazine, however the interview below is exclusive to Spectacular Optical)

THE RITA’s discography reads like a misanthropic agenda: Creature Drowning You(1996), Swingers Get Killed (1998), Weimar Whores (2004), Thousands of Dead Gods (2006), Headless with Leopard Skin (2009), and the list goes on up to more than 70 releases. The music itself is assaulting and invasive, embedded with the distorted screams of euro-horror starlets like Edwige Fenech, Susan Scott and Rosalba Neri – not that you would know it from the relentless layering of audio that makes up the deafening soundscape of scraping, crushing and collapse.

THE RITA is the harsh noise project of Sam McKinlay, a Vancouver-based musician, conceptual artist and film writer who has been considered a pivotal figure in the global noise scene since he started making tapes in his parents’ basement in 1995. Since then he’s done splits with TAINT/MANIA, RICHARD RAMIREZ and Black Metal band BONE AWL, played at avant garde festivals around the world, and loudly championed the inherent connection between harsh movies and harsh music.  McKinlay was kind enough to share some thoughts on the genre films that fuel his audio work.

Where did your interest in genre films come from, and how does it relate to your sound work?

Like many of us in our age bracket, JAWS was a major influence to seeing somewhat shocking violence for the first time – Ben Gardner’s head under his boat, Quint’s blood spitting death, etc.  Violence of nature that really struck a chord.  I have a heavy recollection of making parallels with scuba divers, snorkelers, and bloody deaths from years and years of a child concentrating on shark attacks, etc.  From there I vividly remember watching Mattei’s NIGHT OF THE ZOMBIES at a grade 6 birthday party – obviously not comprehending the nature of the golden era Italian gore releases.  At the same time I’d stare at box art at the video stores for what seemed like hours – the ZOMBIE and CITY OF THE WALKING DEAD photographs…they really struck a chord with gore drawings and comics I’d obsessively do at a young age.  The years spanned from European horror interests that spiralled into 90s Fulci, giallo, Bianchi, and Salo harsh noise tribute works as I found my first correlations and parallels behind the dynamics of italian horror films and harsh noise.  These days are spent with hours and hours of euro actress genre film studies that culminate into Laura Antonelli black nylon investigations, Ossorio and Loli Tovar NIGHT OF THE SORCERERS audio works, and other obsessed and incredibly specific conceptual works as I relegate what really drives my interests in the genre films.  Another facet of early filmmaking that really drives me is pre-code flapper actresses and their depictions in talkie old dark house/whodunnit films – most lately taking sources from the french cafe dance scenes of the masterpiece (easily one of the most perfect films and serial ever) BLAKE OF SCOTLAND YARD.

Your albums have covered a variety of genre influences but what are your current obsessions?

Right now I’m really into Italian WWII Frogmen. They were a part of a group called Decima MAS, and they were basically human torpedoes that would try to blow up ships that were parked in harbours. Anyways I got super into their whole scene.  I put out a 7” a while ago called SHARK KNIFING, and for the last while I’ve been using shark sounds because I went cage diving with great white sharks a few years ago and recorded some sounds of them banging on the cage and things like that, which is an obvious dynamic sound you can turn into harsh noise, because it has the aggression of the sharks and also the diving sounds. And the Frogman culture just seemed to parallel this.

Where did this obsession with Italian Frogmen come from?

“The frogmen interest comes frogman obvious interest in sharks and the scuba diver aesthetics that follow, but the recent complete obsession culminated from a few favorite films. Firstly, THE EMBALMER / MONSTER OF VENICE has always been a favourite giallo/horror film for me as the details are PINNACLE; a scuba diver going through the channels of venice, grabbing girls to kill and store, all the while changing into a hooded skeleton costume when he’s in his lair.  I have been heavily interested in the Krimi genre for some time as it is a natural extension for a giallo fan – or vice versa and one of the rarities that really hit me hard is THE INN ON THE RIVER (1962).  Agin, the plot’s details are hard to beat as a scuba diver is stalking the river Thames, killing his victims with a speargun, and he is known as ‘The Shark’(!!).  It also helps that there is a frogman knife fight during the film which i think it one of the greatest of all aesthetics – a diver with an unsheathed knife.  Horror / genre films for me lately have been incredibly aesthetic based as i delve further and further into the maelstrom of obscure titles.  One of the features of the recent frogman obsession – especially with the eventual dedication to the Italian WW2 frogman division The Decima MAS, is the krimi FELLOWSHIP OF THE FROG (1960) which features a masked murderous ringleader who is wearing a gas mask-like guise that it not unlike the Decima MAS full face masks that the soldiers wore.  Again, the krimis are largely aesthetic based – with many references to the 1930s and 40s US ‘old dark house/whodunnit genre with many different references to costumed characters, dark castles and atmosphere, etc. which giallo films avoided at large as they seemed to really sponge the 70s pop culture aesthetic (outside if films like SEVEN DEATH’S IN THE CAT’S EYES (1973). 

Did horror films have any bearing on your conceptual art projects? If so, can you elaborate or give an example?

During my BFA in the 1990s I remember doing a couple of pieces that integrated heavy eurotrash interests, but always with an Ad Reinhardt, Richard Serra or Barnett Newman minimalist suggestion.  One was a virtual tribute to THE VIRGIN OF NUREMBERG and BLOODY PIT OF HORROR where I constructed a coffin style black box that held down the participant, the head sticking out the end. The artist controls a water hose nozzle on the other end that effects the flow of water spilling into the participants face – virtually drowning them, but all the while the box signaling a compelling visage of late 60s minimalism.  One more straight forward piece was a puppet show stage I constructed that represented something like Russian Constructivism, but was built and centered around the john and eye gouging scene from THRILLER: THEY CALL HER ONE EYE.  The sampled dialogue played in the background as the visible artist worked the papier mache puppets through the scene.  One more performance piece I have to mention is pretending to eat dog food shared with a 2-D installed dog figure all while scenes from GIALLO A VENEZIA were projected on a large screen behind me. Simulated violence through structure, metaphors, director Mario Landi, actress Leanora Fani, and master producer Gabriele Crisanti.

——————–

– Interview by Kier-La Janisse

——————–

FOR MORE INFORMATION ON THE RITA: http://bakurita.blogspot.com/

(Source: http://www.spectacularoptical.ca/2011/05/this-music-bears-traces-of-carnal-violence/)

THE RITA – Female Statuesque 7″ + Insert (Ltd/No’d 200 Copies) Out Now!

The Rita - Female Statuesque
THE RITA
 – Female Statuesque (Female Titans) 7″ (4iB010)

Side A
1. Marie-Agnes Gillot (5:00)

Side B
1. Ariana Lallone (5:00)

Details:
– 7″ in Cardboard Sleeve
– Insert
– Individually Numbered
– Limited Edition 200 Copies

PRICE (Incl. Airmail Shipping from Singapore): USD15.99 / €14 / £10.50
To Purchase, Please Go Here.

=======================================================

Please direct all enquiries to:

4iB Records
PO Box 206
Singapore 914007
email: gerald@4ibrecords.com
www.4ibrecords.com

> THE HAFLER TRIO – Suitcase Live Event on 4 December 1990

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