Showing posts with label fossils. Show all posts
Showing posts with label fossils. Show all posts

Friday, 15 May 2015

New Fossils Releases Available From Mantile

FOSSILS For Brian Ruryk” (KSE #294 / MJC #440)
CD-R edition of 44 copies 


"Anyone reading this already knows what FOSSILS represents: the ultimate noise collagists, low in fidelity and high in imagination. Every album is an action painting in sound, sliced and diced and sauteed until the ingredients jump from the pan. However, as good as all their many albums are, this one really should command attention. Sometimes the humor in Fossils music and the wide-range of sounds they are capable on creating take away attention from the fact that Daniel Farr and David Payne are masters of the musically diabolical: I’d rate this album as an extension of the subversively disquieting sound and aesthetic of, say, Coum Transmissions or early Throbbing Gristle. People seem to forget the DIY/punk/Burroughs/Warhol/lo-fi/cut-up/primitive/outsider orientation of the early industrial music before it was even called “industrial.”  FOSSILS are the natural heirs of the most primal, street-level, Lo-Fi and REAL side of that tradition. AND they are proudly Canadian!  Every track is different, but each section of each one is always fascinating in its construction and abrasive and full of textures." - Bill Shute

£4.50 plus postage: £1.50 UK / £2.00 Europe
To order email: mantilerecords@gmail.com 


FOSSILS  &  BILL SHUTE “THE FLORIDA NOCTURNE POEMS” (KSE #300)
CD- R




"THE FLORIDA NOCTURNE POEMS is the second Fossils and Bill Shute collab, and I hope it’s not the last. Listening to these poems THREE YEARS after writing them, I feel that I really did nail the struggle of confused, average people trying to find some fleeting empty joy in and to make some kind of sense out of the heart of the heart of Central Florida, “Mississippi with palm trees.” These are heavily-packed, detail-rich poems filled with chunky particulars, like the nuts in a Baby Ruth candy bar. Four different narrators tell four different stories, all pieces of the mosaic that is 21st Century life in the Southern US, under the reign of Governor Ultrasound. The combination of FOSSILS sound sculptures and these Florida poems creates a unique unclassifiable work. The music is sometimes abrasive and the poetry is sometimes absurd in a painful, pathetic way, but hey, SO IS LIFE." - Bill Shute. Original cover art by M. P. Landis.

£4.50 plus postage: £1.50 UK / £2.00 Europe
To order email: mantilerecords@gmail.com

Tuesday, 5 August 2014

Fossils - Kendra Steiner Editions CD-R's

Limited number of the two more recent Fossils releases on Kender Steiner Editions for sale.



Fossils / Bill Shute ‎'Diesel Fallout Dixie Stampede' CD-R - £4.00    

Fossils ‎'Wooly Bully' CD-R - £4.00

To Order Email: mantilerecords@gmail.com (please email to check availability before making payment)
Payment via paypal to mantilerecords@gmail.com or cheque. All payments in British pounds (GBP £). 
Postage Costs: UK: £1.50 / Europe: £2.00 / Everywhere Else: £2.50 + 50p per additional   


 

 

Thursday, 2 May 2013

Fossils Material Distributed to the UK and Europe.

Due to the postage cost increases in North America Mantile will now be distributing selected Fossils releases for the UK and Europe.

Fossils 'korjev/wet industry' 7-inch lathe (CARD8)



"Fossils were Daniel Farr, Graham Lambkin and David Payne. 2012 duo recordings of Farr and Payne were transferred to Lambkin for special treatment. Lambkin's touch is understated yet elevates Fossils to new heights.
Side A 'Korjev' brings you to the playground, combining electronic and organic impressions.
Side B 'Wet Industry' is a bus ride to the rodeo, vibrating subtle itch on the spine."
Check out sights and sounds http://youtu.be/re91-DE90kk
Lathes cut by Graham Baldwin at 2208 http://2208records.blogspot.ca/
Artwork by Graham Lambkin
50 numbered copies


£9.50 plus postage: £2.00 UK / £2.50 Europe
To order email: mantilerecords@gmail.com 


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Fossils "Bells and Gulls" CD-R (KSE #239)


 


"Since 2004, the FOSSILS collective, working out of Hamilton, Ontario, have been issuing a constant flow of exciting, micro-label editions of fascinating, edgy, complex, and often witty experimental music. Can’t really think of a similar outfit—the approach is not unlike The LA Free Music Society, and they have a DIY cut-up/xerox aesthetic to the releases that always gives the music a warm human feel (like KSE, I’m thinking they are animated by the true original spirit of punk, when punk was a spirit and not a commodity and a set of images), and the music itself is always a surprise…you cannot put a label like “drone” or “harsh noise” or “free improv” on this body of work. I’ve got about a dozen Fossils releases, and each is REALLY different. They can be brutal, they can be tender and elegant, they can be absurdist, they can be trippy, but usually they will be delivering a unique blend of off-kilter sound experiments, always fresh and unexpected. They also have the “everything but the kitchen sink” approach to instrumentation that reminds one of the early AACM/Art Ensemble of Chicago and the above-mentioned LAFMS. So if those names interest you (one is tempted to add Jandek, AMM, and Half Japanese too), you should be on the Middle James mailing list (go to Yahoo Groups and look up Middle James Co. and subscribe) and you will want this exciting and decidedly different new FOSSILS creation from KSE: BELLS AND GULLS.


This new release, recorded especially for KSE, features core Fossils members Daniel Farr on piano and David Payne on accordion, and the first two tracks feature this duo material…although you should think of these instruments as  ”sound sources” as the material is treated heavily. The piano is clearly a piano in some parts (reminiscent of the “broken piano” found on Coum Transmissions “Sugarmorphoses” LP), though the playing is of a wobbly nature that reminds me of a gyroscope falling off its axis (and that’s before it’s slowed down and stretched like elastic), and the accordion is used to create various chunky, streaky layers. Thus, the overall effect is one of cold candle-lit bubbling, churning other-worldly experimental library music filtered through Two Virgins. It’s atmospheric and as you listen it leaves melted residue on your mind. Also, the hand of the artist is clear in the edits/overlays which are not intended to be un-noticed and seamless, so it’s almost like an action-painting in sound.

The remaining 7 tracks consist of solo pieces from Farr (tracks 3-5) and Payne (tracks 6-9), which use recordings from the same source-material sessions, but go much further out. I have images of AMM rehearsing in a dank chamber of Boris Karloff’s dungeon, full of Jess Franco-esque zooms and garish-colored lighting, and with someone tripping while messing with the sound source. You can conjur your own picture, but this is the perfect music for the freezing wet 5 a.m. winter atmosphere in which I’m typing this.
And the exciting news is that the next Fossils release will be nothing at all like this. These guys are doing important work. They are unconcerned with image and hipness and being part of some clique, as so many “experimental” musicians in the so-called noise world are. This is original creation of the purist sort–in the great North American tradition spanning from Harry Partch to Jandek and beyond. Fossils and Middle James Co. are creating one of the most original bodies of work being done today. People will look back on this and pretend to have been champions of it while they were actually over-praising the darlings of the drone/ambient/noise world instead. Get on the Fossils Train To Surreal Lalaland NOW with BELLS AND GULLS. KSE is honored to feature Messrs. Payne and Farr’s work and to welcome them to the KSE family. Fossils and Middle James are the kind of groups/arts collectives that I look up to and respect…and most of all, ENJOY as they document the pure joy of creation, with the blinders taken off, the training wheels removed, and the fences taken down. It’s a wild ride…"


£4.00 plus postage: £1.50 UK / £2.00 Europe
To order email: mantilerecords@gmail.com 


Wednesday, 28 November 2012

New Releases - Burd, Fossils, Kayaka, Brood Ma, Spoils & Relics

Five new cassette + download releases from Burd, Fossils, Kayaka, Brood Ma, Spoils & Relics.

All artwork hand stamped / handmade
All cassettes pro dubbed (stereo)
All cassette editions are limited to 50 copies
Downloads (320 kbps) will stay up until they expire

Cassettes: £5 each (for wholesale prices please email)
Downloads: £donation?
Payment via paypal to mantilerecords@gmail.com or cheque. all payments in british pounds (GBP £).

Postage Costs:
UK: £1.50 + 50p per additional
Europe: £2.00 + 50p per additional
Everywhere Else: £2.50 + 50p per additional

Please email before making payment to check availability - mantilerecords@gmail.com


Burd – Wild Saloone (Mantile#019)



Melodic and rhythmic sensibilities occasionally get the better of us. Burd finally gave into his - delivering this one take, direct to four-track cosmic synth recording with shades of house to me in early 2010  – it never should have taken so long for it to see the light of day. Wild Saloone will probably draw most comparisons with the output of Steven Warwick’s Heatsick project, since it hit the dance floor.

download link (donations appreciated via paypal)
http://www.mediafire.com/download.php?8nnwydidz494oo2

stream clip


Fossils – What A Drag (Mantile#020)




Tarred with the crude brush, What A Drag was someplace and now they’re somewhere else. Studio & live cuts from Payne and Farr, edited by Scarr.
“Where else can you do a half-a-million things”.

download link (donations appreciated via paypal) 


stream clip


Kayaka – Operation Deep Freeze (Mantile#021)




Operation Deep Freeze came out of a period where Kaya Kamijo was working with a more structured form of noise music, towing a line quite close to what could be considered a more straight form of rock music, but its warped by an odd sensibility that’s pinned around the scattered beats of a primitive drum machine. At times it's reminiscent of the more abstracted moments of Peter Hammill’s A Black Box, and a somewhat less fractured To Live And Shave In LA. 

download link (donations appreciated via paypal) 
http://www.mediafire.com/download.php?nr3v7jk4e1s10f4

stream clip


Brood Ma – F I S S I O N (Mantile#022)




Brood Ma is the musical alias of (multi-disciplinarian) artist James B Stringer. F I S S I O N resonates within a field of contemporary electronic (dance) music which has developed a hybrid form - where numerous genres exist within the whole - simultaneously, fittingly. As for reference points - the first few 12”s of Dro Carey, and the likes of Nguzunguzu with a more industrially tinged and unhinged mind-set.

download link (donations appreciated via paypal)

stream clip

Spoils & Relics – Stammer Challis (Mantile#023)   


  
Now I know where to bring my raspberry pies. Yes, send them to the Blessed one.

download link (donations appreciated via paypal) 

stream clip

Tuesday, 2 October 2012

Saturday, 2 January 2010

Mantile - #012, #013, #014

Well it's taken a fair while for Mantile to go 'Label' again, and here we are...

all artwork is hand stamped / handmade,
all cassettes dub'd real time, high quality.
all cassette editions are limited to 50 copies.
downloads (320 kbps) will stay up until i see fit.

Cassettes £5.50 (UK) / £6 (Europe) / £6.25 (Rest of the World) all prices include postage,
or all 3 for £15 (UK) / £16 (Europe) / £17 (Rest of world) inc. postage.
please email me before making payment - johnny_scarr@hotmail.com
payment via paypal or cheque. all payments in british pounds (GBP £).

cheers, johnny.

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Burd & Scarr - Mantile #012 (C30)

**********SOLD OUT**********Comprising of a selection of studio sessions recorded throughout December 2008, Mantile #12 presents the culmination of two-years spent by Burd & Scarr playing improvised music together. It is a thought-provoking event in so-called sound art, intermingling and exploring two notions at once separate and related: the constructed soundworld and the latent voice of emotive popular music.

Blade Runner provides an audio-visual life-model from which Burd & Scarr sketch out their own soundworlds. Whilst ‘songs’ in the movie soundtrack remain extradiegetic parcels that support the narrative, compositions on Mantile #12 are an approach towards a more fully-integrated, dynamic and independent soundworld.

As such it is a fascinating inversion of an often-repeated process of using the ‘real’ (environmental sound recordings) as the basis for composition – a process in which we depart from the ‘real’, leaving the world in ever-softer relief.

By starting with an overtly fictional world, it would be tempting to say that Burd & Scarr are in search of the ‘real’ amongst the mythic, future-historical and utopian voices of the movie. Where though will they find it if the world of Blade Runner is not populated by real people or even fixed fictions? Instead, what Burd & Scarr have produced in this recording is a kind of gorgeous sound-map to the world of Blade Runner.


In a French film called Le Concert de Mozart protagonists variously speak of a clarinet accompanied by orchestra: “It tells about someone who is in love, and his grief at not being able to love… It is telling its stories, the clarinet is telling its own stories… These are operas without words, they say what the words don’t say.”

In another vein of sound on Mantile #12, Burd & Scarr have extracted single notes or chords from undisclosed ‘emotive’ popular songs. Isolated from their context, these little envelopes of sentiment are subjected to various forms of manipulation to open up and form the very substance of the composition. It is a kind of forensic approach where the artists cut in closely and present what they have found.

What they found, it seems, is grief and unrequited love. Burd & Scarr’s compositions dissolve the voice of ‘emotive’ popular songs into murmuring and mournful laments. To paraphrase one of the men in the French film, they have become “operas without words, they say what the words don’t say.” - Jonathan P Watts, Norfolk, 2009

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Johnny Scarr - (re)muxcuth - Mantile #013 (C20)

**********SOLD OUT***********

















So say we buy into the Ballardian idea (though I’m sure he wasn’t the progenitor) of the temporal collective unconscious, the rising out of the night, structures and environments that predate our bones and relate to parts of our biological and social genealogy. Well, certain soundscapes attempt to uncover this forgotten past and strike out in the dark discord through ‘musical’ echolocation and when they hit something, it sends out white reverberations around the structure and the shape of some colossal construction looms out of the pitch-black. Think not to the ear of traditional composition; think to the bat and its sonar capabilities, the mammal creating a mental picture of the surrounding landscape by means of dissonant frequencies. Imagine the bat's ear picking up the skeletons of ancient, long-dismantled structures and you're there.

This particular abnormality has the hum of a colossal factory, a warped relic from the industrial age. Somehow in its phonic recreation, in its looking backwards through time, the events are rewound and flow backwards, the sounds are somehow unmade and become underworldly. They contain that specific horror evoked on looking upon yesterday’s ruins where the rats decay with the framework (B, 8:10) and at night, the ghosts of the machines still boom, hum and generate a cold heat; the haunting splashes of the previous inhabitants walking through the oily puddles tickle the ear (A, 5:00) and quieten to the roar of the siren and the cobwebbed common-room radio. The echoed reverberations of clanging metal send the night birds; the last fragment of life in the factory, madly fluttering and melting into the sky. - Jack Andrew Lenton


download: http://www.mediafire.com/?77lm2ba5id228bp







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Fossils / Spoils & Relics - Split - Mantile #014 (C30)
**********SOLD OUT**********


















A side - Fossils - 'Whybrow'

This number was called up from a time before the chicken lizards dance was even conceived. When the telephone was his sole method of communication. He always claimed to be a Mr Whybrow; Always banging on about this rustle and a bustle seeping out of an appartment down st.james. He said it wasn't music. I told him he had to be kidding, and that it'd be a farr off payneful place with no known personel, and instruments, for that kind of tripe. Next you'll be claiming one of your party is named smith! he just screamed back at me "i'm so much higher (brow) than you guys". Whybrow indeed. - Mantile

B Side - Spoils & Relics - 'Shut In Place'

Shut In Place - Overlooks leeds six's current landfill epidemic from a penthouse view. The bins check inn amidst dying lights and begin to empty themselves over the dining table. Foreign objects, twisted spools and infernal devices are gathered and arranged dribbling new recycled fluids that scour and cleanse textured corridors. Waste forms trip left to right down uneven stairs, the fluids seep through the ceiling forming puddles in the empty lobby. New rooms unlocked.. too late to check out. Shut in place. - KP