REF / ARTIST / TITLE / PRICE IN EUROS / RELEASE / MEDIA / DESCRIPTION

020 / Burnt Hills / Morning Glory / 12.00 / RR20 / CD / Cover paintings by Llana. Sound Clips 1 2

Llana - Xylophone
Eric K - Bass
Phil - Drums
Mike - Drums
Ray - Guitar
Paula - Guitar
Eric H - Guitar
Johnny - Guitar
Jackson - Guitar

Psych trip genius, Burnt Hills drop a 57min wild wild ride to the best possible place. Truly Albany´s best. Play it loud and you will find all sorts of lost zones there! Play it very loud and you will be re-born.

"I've spoken much of Albany basement legends Burnt Hills before. Their particular brew of sludge rock always hits it right for me--equal parts Fushitsusha, Parson Sound and Sun Ra--but what we have here is a different matter indeed. Released on the well established Ruby Red Editora label, Morning Glory is, as near as I can tell, the Hills' first official (that is, not cd-r) release, and it more than deserves that honor. This is Burnt Hills at the height of their doped dementia, and it slays.The opening few minutes might be the most cohesive assemblage I've heard from them, especially being as their improvised stews are actually working within relatively narrow sonic confines. Each jam being different, and one could suggest a further continuation down the righteous path toward sludge rock heaven, it is good to see the band further proving their evolution. The pummeling drums that open it beckon the cries of guitars and bass while the tinkling of xylophone reverberates underneath. It takes nearly five minutes of open ringing chords, like a (at least relatively) better recorded Les Rallizes Denudes Big Band. When the band finally unites in one pummeling action it moves along with a cohesion and fluidity like few of their releases before. It seems an odd adjective but for better or worse the whole group seems to really be swinging here, and you can practically picture their bobbing bodies as the dual drummer tandem of Phil and Mike, along with bassist Eric Hardiman, keep the motion rock steady, heavy as the earth. Of course, in the grand tradition of Burnt Hills, the whole disc is about an hour long and contains only one jam, making it a kind of presentation of the band in a certain place at a certain time (one Monday night at Jack's I would guess...). What keeps Burnt Hills stuff so good, and so immediate, is the constant honing of approach, a total dedication to its form. One gets the sense that the band never sits down and talks about what they want to do; they simply do it, each member shaping it in its own way so that it grows into its own living breathing creation. Using what seem like all too tried and true methods of rock making--guitar, bass and drums--along with the subtle clanking of the xylophone, the group is in constant seeking of one potential shape of rock to come, a new rock language. And the best part is that the louder you crank it, the more the details reveal themselves, slinking you deeper into the intertwining lines of each member. A big cloud of smoke resides over this one. Still available from the label I believe, and with great cover art from Sick Llana herself--check out how concerned that kitten looks. Relax dude, the truth is scary." - by Henry Smith in earconditionednightmare.blogspot

  019 / Arthur Doyle´s Free Jazz Soul Orchestra / Bushman Yoga / 12.00 / RR19 / CD / Cover paintings by Ed Wilcox. Sound Clip 1

Arthur Doyle - Saxophone, Vocals
James Harrar - Winds, Percussion, Kora
Ed Wilcox - Drums, Vocals, Harmonica, Whistles
with:
Adam Agra - Banjo, Guitar
Jay Reeve - Electronics

Yes, Yes, Mr Arthur Doyle up for scan again. Bushman Yoga steps into a new realm of modern composition, it has no trend nor style, it´s just music in it´s purest form, raw and beautiful. The Free Jazz Soul Orchestra rip it up ready to cause concern with a  low and intense, maximo stance. This record will make you wanna dance.

"The Arthur Doyle Ensemble always sounded real good on paper. Hooking up feral saxophonist/vocalist Arthur Doyle with a bunch of young free noise improvisers should serve to highlight and expand upon Doyle´s almost complete break with jazz language, while simultaneously joining the dots between his early groundbreaking approach to the shackles of form and the revolutionary praxis of current future primitives. But somehow the record evidence never really matched the accompanying mental scenario that the whole scheme seemed to imply. Bushman Yoga, however, is the perfect ticket. Here the core of the ensemble is slimmed down to trio of Doyle on saxophone and vocals, drummer Ed Wilcox (of Temple of Bon Matin) doubling up on harmonica and "mouth noises" and Jay Reeve on electronics. For each of the two live shows documented here they are joined by a local guest, with Bryan Martin playing flute and snare in Birmingham, Alabama (Doyle´s birth place) and James Harrar On playing winds, xylophone and kora in Atlanta. The small ensemble approach suits Doyle´s current hyper-concise style, as he obsesses over perfectly formed melodic instants that are comparable to Moondog in their execution through African love calls, harmonica and scat-singing duets and some wild sound poetry." - in Wire Magazine, 2007

  018 / Adam Rudolph´s Go: Organic Orchestra / Thought Forms / 12.00 / RR18 / CD / Cover paintings by Adam Rudolph, cover design by Tiago. Sound Clips 1 2

Composed and improvisationally conducted by Adam Rudolph
Concert production by Carlos Niño
Go: Organic Orchestra - Strings, Winds, Percussion

Set the alarm clock for this one, cause it´s THE BOMB!! Magnificent composer and percussionist (and a lot more) Adam Rudolph conducts the Go: Organic Orchestra delivering rhythm directly to the soul. "Thought Forms" has a very natural impulse around the most intricate structure. You will hear things crashing, smashing and a lot of SERIOUS groove holding it all together.
Recorded live in Venice California with the concert production of Carlos Niño AND released between the join forces of Meta Records and we at the Editora. Magic indeed!

"The mighty Adam Rudolph has directed the Go: Organic Orchestra for quite a while through various permutations and with a revolving cast. This version was recorded live at the Electric Lodge in Venice, CA in June of 2006 and it just might me the largest one yet with some 36 members. The woodwinds sections includes 15 players with a few musicians I recognize from their work with Vinny Golia like Emily Hay, Ellen Burr & Sara Schoenbeck. The nine-piece percussion section includes Harris Eisenstadt & Munyungo Jackson from Bennie Maupin's current band. There are also four acoustic bassists, a 7-string el. violin, viola, 2 cellos, tambura, electric guitar and harp. Adam Rudolph has recently moved back here after living, playing and teaching in the LA area and organized a new version of the Go: Organic Orchestra, which included a few of these players. The NY G.O.O. played a series of Monday nights at Roulette a couple of months back and was fascinating at both of the nights that I witnessed. Adam's method of conducting was both fun and exciting to watch."Thought Forms" is a 12 section orchestral work that features a handful of different soloists in most sections. Starting with "Overture," the sound is subdued, eerie and filled with suspense. "Organic" is definitely how it sounds. Similar to Butch Morris, Adam seems to be selecting short lines and then sculpting them by directing the ensemble to alter or change the dynamics. "Ka" features a tribal sounding multi-percussion section with answering strings. I dig the blend of alto & bass clarinets and haunting plucked strings on "Romance". "Sonar" features an enchanting percussion duo while "Interior" features the wonderful flute of Fawntice McCain with other simmering flutes and strings surrounding. Adam slowly builds sections of the orchestra by directing and adding layers.  I dig the way the woodwind and percussion play together blending similar textures into a one rich tapestry. Considering how many musicians Adam has at his disposal, much of this music is minimal and selectively painted. The more we listen, the more (inner) connections we hear within the framework. When the tambura and sinister bass comes in on "Golden", it is almost too much. An organic orchestra is what Adam Rudolph calls it and that is just what it is. Quite a magical one at that." - BLG, Downtown Music Gallery NEWSLETTER FOR MAY 2nd, 2008

"Percussionist, composer and educator Adam Rudolph is best known for his collaborations with Don Cherry and Yusef Lateef, both highly individual players who sought to integrate traditions from all over the world (Lateef´s term for this was Autophysiopsychic Music", while Cherry simple called it "Togetherness"). Rudolph´s work is in a similar vein, as is evidenced in this large ensemble recording. (...) Thought Forms is a half-hour suite for a 35-piece band dominated by convening a corps of flutes, strings and percussion; the personnel include drummer Harris Eisentadt, vibraphonist Chris Dingman and bassist Nick Rosen, while Rudolph himself acts solely as conductor. It´s very different music (...) the mood intense and even aggressive. Though there are moments when vibes, bass and frame drums set up an insistent groove underneath orchestral trills, the piece mainly draws on the tradition of atonal orchestral writing from large sound-masses to ludic clatter. On the rather curious overture bass, log-drums and castanets thrum together out of tempo with the surrounding dense weave of oboe, clarinets, flutes and strings. The rhythm section drops out abruptly, leaving a free space for twittering flute, bowed cymblas, metallic sounds and distant pattering. Woodwinds dart upwards and clash in piercing dissonance, and the rhythms are weighty and relentless. Even the sparcer sections act more as tensile placeholders than interludes clawing bowls, gongs, metal percussion and pizzicato thwacks bring out the blacks, grays and silvers that are only hinted at in the rusty browns and ochres of "Dream Garden" "- by Clifford Allen in Signal to Noise Magazine, Summer 2008 issue

"«Thought Forms» de Adam Rudolph com a Organic Orchestra é um álbum surpreendente, indiscutivelmente um dos três melhores lançamentos da editora até à data. Peças curtas, 2 a 3 minutos (há uma excepção, com 6 minutos) que completam pouco mais de meia hora para uma viagem absolutamente feérica e entusiasmante pelos confins de uma espécie de jazz cósmico. Por vezes mais freaks do que isso, em jeito de aproximação àquilo a que soariam uns No-Neck Blues Band, ou mesmo Sunburned Hand Of The Man, se fossem revisitados por uma orquestra mais ou menos convencional. Disco incrível, muito, mas mesmo muito entusiasmante, que vai directamente para uma das melhores posições nas listas deste ano." - in Mailing Lust, Abril 2008

017 / Rob Brown & Andrew Barker Duo / Live in Chicago / 12.00 / RR17 / CD / Cover by Tiago. Sound clips 1 2

Rob Brown - alto & tenor saxophones, flute & shakuhachi
Andrew Barker - drums & percussions 

Recorded live at the Empty Bootle in Chicago by the late Malachi Ritscher (RIP). The fortunate ones that were around by the time this was recorded (MM) will know the energy kept in here. Creative musicians bringing some light to what the future may hold!

"Live in Chicago may be the only record by the Brown-Barker duo, but, they played together in the Little Huey Orchestra back when George Bush was still just a Texas´s problem. Bush-hater Malachi Ritscher recorded this totally improvised set in June, 2000; his audio approach tells you exactly what went down, nothing added, nothing lost. That means you have to do some of the work; the music unfolds without regard for short attention spans. Brown brought a full load of instruments (alto and tenor sax, flute, and shakuhachi) and ideas. He and Barker are well matched, filling the space that might have defeated less adroit musicians with forthright rhythms and wailing cries and highlighting its expanse with sparce metallic textures and birdlike sonorities. (...) Brown´s playing seven years on from Live in Chicago feels more focused, less compelled to work out every angle and phrase. While the album implies a rootedness in form, I think the real roots here are personal ones." - by Bill Meyer in Signal to Noise Magazine, Summer 2008 issue

016 / Harmonize Most High / Babylon / 12.00 / RR15 / CD / Cover paintings by Robert Ryan. Sounds 1 2

Daniel Carter- Trumpet -Tenor & Alto Saxophones- Flute and Clarinet
Robert Ryan - Electric Guitar-Setar-Saz-Bouzouki-Harmonioum-Upright Pump Organ-Slide and Acoustic Guitars- Percussion- Tamboura and Vocals
Michael Sternbach- Alto Saxophone-Guitar-Percussion and Bouzouki
John Francis - Bowed Dulcimer- Viola- Bowed Banjo
Tim Kieper- Drums and Percussion

H.M.H. are one of the most blessed free jazz, psychedelic collectives. Their debut album his out now on limited edition with a beautiful art cover painted by Robert Ryan. Guaranteed that their music will take you to higher places!!

"Harmonize Most High is a new and very pleasant discovery of the Portuguese company, Ruby Red. The quintet come from New Jersey and the lira mostly free jazz and psychedelic folk music with an Eastern ring, which can be explained by saz, set and bouzouki is included in the arsenal of instruments. The aggressive, rumbling, boisterous put to one side and the appropriation draws against the meditative and free. Certainly skriar saxophone at times, but often as an element in the background. "Acra" opens with the duplicate song and chirp flutes. The song ebb out in an Indian raga in which tablans shayeeskinn create beautiful harmonics, persistent framklappade during a suspended blåssats. "Goath" is a more intense track with jazzgitarr and Don Cherry-vibrating bladder. A spiritual trip, with a free and soft interactions among the various instruments. Saxophone whimpers emotional. Daniel Carter has a nice feeling when he blows, by turns caressing, sometimes scratch - before he quit with the whole registry. Strilande rain falling on the clarinet in "Bezetha." An abstract sound image is washed up, while the mourning wines from the glistening black funnel. As a neat little interlude, shiny beautiful in their dull colours. Closure "Zion" undulate between intensive and quiet parties. It is a fine combination between psychedelic mood, Eastern folk music and free jazz fry. Another exciting feature appears on the song "Moriah." Dälek stepping up from nowhere and start to battle against the saxophone. A bold approach that works unexpectedly well. Däleks lash is laidback and the emergence of an urban feeling in the dissolute psychedelic music. The trip is going back to the street through the deep forest. I really like Harmonize Most Highs fluctuations - and mergers - between folk music and free jazz. Babylon is a disc of talented musicians, serious and playful. Flu mixed far and the result is tantalizing and easy - I really hope for more drop from this vital group." - Jens Holmberg in Sound Of Music

"New psychedelic/free jazz/downer folk quintet moves led by guerrilla saxophonist/trumpeter/flautists Daniel Carter and featuring Robert Ryan on electric guitar, setar, saz, bouzouki, harmonioum, upright pump organ, slide and acoustic guitars, percussion, tamboura and vocals, Michael Sternbach on alto saxophone,guitar, percussion and bouzouki, John Francis on bowed dulcimer, viola, bowed banjo and Tim Kieper on drums and percussion. If you dug any of the more ragged song-based projects of sometime Carter collaborator Evan Louison then you’ll find much to enjoy here, with a late-ESP Disk feel crossed with private press atmospherics and organic, higher-minded improvisations." - by David Keenan, Volc. Tongue

"Things are looking good for this Harmonize Most High CD... it's on the Ruby Red Editora label... Daniel Carter is in the band... the word "high" is in the band name... cool cover art and an honest-to-goodness 'free jazz poem' on the inside cover that starts "The Sound unafraid/With wings may it soar/The light that radiates/infinite days boundless sky..." push play and the music immediately starts living up to the promise: Carter's psychedelic flute melodies and what sounds like a cello snaking sweet-and-sour underneath (as far as I can tell from the credits it might be "bowed dulcimer" but it sounds too low-end), drums, and holy shit, now a man and a woman are singing that inside-cover poem together in a reverbed-out duet... this is good... but unfortunately this opener isn't a side-longer, it fades out after like 6 minutes and the band tries out some other things, 7 long tracks in all, and sure there are plenty of pockets of brilliance (creative mix of electric guitar and traditional free jazz instrumentation, and one rather awesome bit where somebody raps hardcore over the free jazz and it surprisingly really works) but I can't help thinking that this release was hampered by the editing and sequencing potential of the CD format, i.e. they put too much on here, too many fade-outs and excerpts. I would like to hear this material edited to a single LP, and that first track has gotta be a side-longer! (Note: these opinions worth approximately 1.8 cents.)" - in Blogstitude

“Babylon” is the recorded debut of Harmonize Most High; a band that boasts among its ranks the likes of jazz legend Daniel Carter along with Tim Kieper, Robert Ryan, Michael Sternbach, and Jon Francis. The main band also regularly augments itself with guests sprinkled throughout the seven tracks on this album, creating a rather diverse musical experience. The sounds created here owe to a plethora of origins including free jazz, folk, Indian classical music and even some touches of hip-hop courtesy of Dälek. Experientially the album maintains a more nebulous, stylistically shifting feel for the first two tracks, before it settles into a suite of improvisations that seem to really feed off of and create a distinct musical dialogue with one another. The middle suite of four tracks in many ways highlights the album while the beginning two and final track display different aspects of the band improvisational explorations. On a track by tack basis the album never truly falters, each piece creates an enticing sound world, yet its when the band slips into a heavy, eastern jazz vibe that they seem most at home. This aspect truly begins with the third track “Gareb” and finds its resolve in “Ophel”. It is here where Harmonize Most High are able to pull the listener into a warm, mysterious embrace that was only hinted at on the first two cuts. They manage to create an environment where smoke and shadows play alongside bright sun soaked fields of sound. Where trumpet, flute, alto and tenor sax flow throughout watery percussion, mixing and commingling with sitars, bouzouki and a plethora of other instrumentation.  One may find it mildly disappointing that the album does not find its overall resolve with “Ophel” but continues onto the more jazz based vamps of “Zion”. Again this is not necessarily stuff to be missed, but at the same time its placement detracts from the wonderfully perfumed setting of the middle suite. To their benefit they do attempt to reintroduce elements and themes of the center suite, but unfortunately its too little to late, as the dream state has fully dissipated by this point. This is not to say that “Babylon” is by any means a disappointing record, it is in fact quite the opposite. The issues are simply more involved in sequencing as opposed to the music itself." - voted 8/10 by Cory Card  in Foxy Digitalis, July 2008

015 / Michael Yonkers / No Kidding / 12.00 / RR15 / CD / Cover by Tiago, sound clips 1 2

Michael Yonkers - Solo Noise Guitar

Michael Yonkers is no news (he´s good news)! Prolific guitar player since the early 60´s here on a solo noise guitar venture. "No Kidding" might be one of Yonkers most fierce records to date. Full of metal and melody, loud and beautiful!!

Cross reference this new beautiful feauture "The World is Just Catching Up: Michael Yonkers"

"Yonkers his unique and fearless. As I listened to this brilliant piece of work, I realized that this work was not only ahead of its time, but mutants in the 23rd century will be boppin' to this.(Or the soundtrack to a movie I will dream of directing in 2015.) 4 STARS - Kudos to the Portugese label 'Ruby Red' for its release." - Barry Thomas Goldberg, in Myspace

"Michael Yonkers disc is new stuff on the quality Portugal label Ruby Red Editora. It's billed as "SOLO NOISE GUITAR" and it's intense, a definitive document of the absurd industrial techno noise that he gets out of that homemade future cyborg guitar. 11 tracks, 37 minutes, what you see is what you get, very basic presentation, and if you have it on at low volumes it might not sound varied or especially interesting, but turn it up and there are chasms and canyons and all kinds of lost zones in this stuff." - by Blogstitude, blastitude.blogspot.com

"Solo ‘noise guitar’ side from Mr Michael Yonkers, whose 1968 recording Microminiature Love remains one of the most avant garde garage punk recordings ever to make it to Sub Pop. This is eleven tracks of cranked-up, F/X shredding six string destruction from a guy with a whole lifetime of ferocious electric guitar re-invention already behind him. A wild one." - by David Keenan, Volc. Tongue

"A portuguesa Ruby Red Editora descobriu nos confins da américa e por "portas e travessas", o génio incompreendido do noise e do lo-fi - Michael Yonkers (os seus primeiros trabalhos remontam ao final dos anos 60). No Kidding são 11 faixas de "Solo Guitar Noise" improvisadas que atestam o espirito actual e extremamente criativo do seu autor. Um disco para apreciadores de boas "guitarradas" à flor-da-pele, electrificadas e sem concessões. Excelente." - in Ananana.folha, Abril 2008

014 / One Might Add / Sailing Team / 12.00 / RR14 / CD / Cover by OMA, sound clips 1 2

Alberto Arruda - Electronics
Ruben Costa - Drums, Electronics

Portuguese duo hailing from the capital´s underground movements. Truly excited about this debut album. Unique sounds using drums and home made electronics giving rhythm to psychadelia like no one, for your total listening pleasure.

"A corrupção não tem só o lado canalha de que se ouve falar. Ver não, que não existe. Por exemplo, a adulteração de maquinaria para fazer som, parafernalia nascida com outra configuração, sujeita entretanto a cirúrgicas intervenções, tem resultado que se ouça, por muita lixarada que também abunde. Se a uma pilha de tralha analógica se somar uma bateria convencional tocada de modo esdrúxulo, temos caso. É no grupo dos projectos com validade estética nascidos nesta terra de ninguém, zona cionxenta que é de todos afinal, que se incluem os portugueses One Might Add. Outra maneira de dizer Alberto Arruda e Ruben Costa, duo de quem saiu há pouco Sailing Team, na Ruby Red Editora, dupla que, associada a outra, formou um quadrilátero de boa memória, que deixou rasto na netlabel Test Tube. Três anos já lá vão e a coisa chamava-se We Shall Say Only The Leaves. Lembro-me que alinhavei um escrito sobre Exploding Whale, naquela altura. De volta a Sailing Team (outra vez a temática marítima, e não menos explosiva, diria), umas quantas passagens pela curta experiência (cada sessão tem apenas 24 minutos, por isso se aconselha packs de duas ou três sessões por junto), revela uma utilização proficiente de material vagamente aparentado a entidades reconhecíveis como sintetizador, samplers, caixa de ritmos marada e outras maradices geradoras de barulho, ou de noise, que é mais fino e educado dizer-se. Nada vem creditado, portanto é só a gente deitar-se a adivinhar combinações e a tirar umas pelas outras. É desta fervura amena, com esporádicos beats sacados à house e a outras danças bravias, que se decanta o som sujo, residual e de cromatismo forte, psicadélico e pós-kraut q.b., dos One Might Add. Algo que calha mesmo bem para massajar as meninges, se ouvido em volume convenientemente alto. Máquinas e rapazes na reinação. Mas a sério. Ideal para soundtrack do filme de ficção científica série Z que imaginar se queira." - jazz e arredores, março 2008

013 / Temple of Bon Matin / Flower Footed Ghost / 12.00 / RR13 / CD / Cover by Ed Wilcox. Sound clip 1 2

Eric Baylies - Bass
Jim Flagg - Violin, Mandolin
Vinnie Paternostro - Saxophone
Jay Reeve - Percussion, Synthesiser, Guitar
Ed Wilcox - Drums, Vocals, Bass, Toy Piano, Thumb Piano, Whistles, Fx, Harmonica
Charles Cohen - Buchla Music Easel
Jerry Mayall - Bass
John Mulvaney - Piano
Cory Neal - Upright Bass
Recorded by Jeff Kohlmeyer

"To listen to Temple of Bon Matin is like listening to some sort of urban summer field recording. As the sounds of varied musics escape from the opened windows of people’s one bedroom apartments and mingle with the surrounding traffic and pedestrian sounds thus creating a very ethereal but undeniably real sound, you become engaged in this near hallucinatory aural experience. True sonic pioneers, incredibly deft sculptors of sound. These guys have been around for at least a good 15 years pushing the boundaries of music by various means and have definitely been a favorite of mine for quite some time. This disc is definitely solid, as is most of their discography that I have heard (...)" - Kevin Richards, in Foxy Digitalis

"New set of "deep south psychedelia" from one of the loudest/freest band in America, led by powerhouse drummer Ed Wilcox and featuring saxophonist Vinnie Paternostro, bassist Eric Bayles, violinist Jim Flagg, and percussion/synth/guitar from Jay Reeve.Alongside a bunch of guests the group conjure up the kinda apocalyptic free-form jam logic that would reconcile oracular F/X soaked vox, dunting percussive grooves ala Wilcox's work with Arthur Doyle in the Electro-Acoustic Ensemble and some almost Hawkwind-esque electrified urban guerrilla mainlining." - by David Keenan on Volcanic Tongue

"Música psicadélica originária de Filadélfia por um dos grupos mais saudavelmente bizarros da América dos dias de hoje. Os Temple of Bon Matin andam nesta vida desde 1993, animando ruas e praças com esta espécie de rock para-atonal, de texturas ácidas e formas desfocadas, que cruzam elementos de improvisação electroacústica, tribalismo urbano, groove e free jazz (contam com colaborações de Arthur Doyle, Daniel Carter e Marshall Allen, três históricos do free). Este composto deliciosamente decadente, mistura rica e variada que não perde o fio conductor entre as diferentes partes que a compõem, tem como ponto de partida a troca de ideias entre o baterista Ed Wilcox e o pianista John Mulvaney, e os esforços de uma lista de convidados variável de disco para disco. Em Flower Footed Ghost, por exemplo, alinham Eric Baylies, Jim Flagg, Yinnie Paternostro, Jay Reeve, Charles Cohen, Jerry Mayall, Cory Neal e Jeff Kohlmeyer. Umas mais notórias que outras, os Temple of Bon Matin reclamam influências de Sun Ra, Harry Parch, Ornette Coleman, Henry Cow, Can, Hawkwind, Captain Beefheart, DMX, Allman Brothers, Albert Ayler, Boredoms, Arthur Doyle, Laundry Room Squelchers. A lista completa seria fastidiosa e diria mais que o necessário. Muito mais interessante será ouvir o som luxuriante, bem amassado e deixado fermentar, de Flower Footed Ghost, disco editado em 2007 pela portuguesa Ruby Red Editora." - jazz e arredores, março 2008

012 / Buffalo Suicide Prevention Unit / Alive / 12.00 / RR12 / CD / Cover by Tiago. Sound clip 1

Mike Allard - Alto Sax
Steve Baczkowski - Tenor / Baritone Sax, Bass Clarinet
Michael Hermanson - Trombone
Leif Ingvar Nicklas - Contrabass
Ravi Padmanabha - Drums, Percussion
Ringo Brill - Percussion
Gabriel Gutierrez - Cornet

BSPU are a quintet from Buffalo AND i promisse you they will clean all evil from your ears, cause they love them!

011 / Tabata Mitsuru / We All Gonna Face The Rising Sun / 12.00 / RR11 / CD / Cover by Kaori Tobi. Sound clips 1 2

Tabata Mitsuru - Guitar, Loops, Voice, Effects

Tabata as been playing music for such a long time and with the most epic Japanese bands too (Boredoms / Acid Mothers Temple / Zeni Geva / Amazon Saliva / etc) You most likely find him playing in your town with one of those bands. His solo stuff is just AMAZING.

"Japanese guitarist Mitsuru Tabata's name should be better known than perhaps it is... he was an early member of the Boredoms, is a current member of Acid Mothers Temple & The Cosmic Inferno, and has served as KK Null's axe associate in Zeni Geva for many many years, among other activities. He's also made some brilliant solo albums, of which this is one (his third -- a fourth, on Utech, also just came out)! Rather than making much use of the heavier guitar blurt that so many of his other projects feature, on this solo disc Tabata works with layers of lovely loops, quietly cycling 'round a spacey cosmos of his own invention... well for the most part, though the track "Annihilation" does sound appropriately amped up and ferocious. But most of these pieces are built from backwards tapes, shortwave drones, guitars and synths spinning out gentle folky melodies amidst soothingly tripped-out electronic effects. Abstract psychedelic lullabies, calm and spacious and really nice! Highly recommended, all Acid Mothers Temple fans should check this out -- and not just them!" -by Aquarius Record Store

"New solo CD from Tabata, ex of Tokyo volume fetishists Loud Machine 5000 and Zeni Geva (alongside KK Null). His solo work has more to do with minimal tonal constructs of repeat-sound ticker-taping your brain into liminal consciousness with backwards tapes, eastern string tones, analog electronics and flashing percussive loops ala hi-fi Vodka Soap." - by David Keenan on Volcanic Tongue

009 / Tropa Macaca / Marfim / 12.00 / RR09 / LP / Cover by Joana C. Sound clip 1

"When I heard the recordings of adventurous sound pioneers the Dead C from a New Zealand show from the early part of this decade I was really intrigued to see that what I had figured was a junkshop-analog band all the way started to integrate some small bits of digital sounds, albeit sparse ones. People started buzzing that these guys had started to embrace some of the minimal house sounds of Berlin, or something similar, but then an interview with the band quickly set everyone straight when they announced that was all complete bullshit and they absolutely never listen to any of that stuff. Still, the idea of integrating Thomas Brinkmann-style pulses into rough-hewn approach to making slow-build trance music from a purely screwed up punk/DIY point of view where the human was still very much dominant over the machine was intriguing, and it seems that Portugal's Tropa Macaca might indeed be running with that ball. The duo of Ju Undo/Joana de Conceiaao and Andre Abel/Si mao Superior, Tropa Macaca's spirit of improvisation is one of building, shifting textures that coalesce into monstrous mutant pulse while still remaining spare and burnt out." - in WFMU´s Beware of the Blog  VOTED BEST RECORD 2007 by WFMU

"The Ruby Red Label over to Portugal has been ever so diligent in releasin all sort've racket from a variety've wooly fringers but my favorite of the bunch has been this 'Marfim' lp, a debut from a duo what's called Tropa Macaca. Skeletally resemblin Blue Control w/their penchant for mercurial loops & trance-inducing repetition, Tropa Macaca seem cut from the same cloth as well in their (seeming) appreciation for German Tape Music (Asmus Tietchens comes to mind) & hypnotic, minimalist Psychedelia. The a-side ('tronco nu') scutters & pulses along w/ extant Kraut-morse patter before slowly splintering into a quasar of Kluster responsive brilliance. The 2 tracks that make up the flip continually build on said pace/action & eventually evolves into an aggressive, extemporaneous march that recalls a 22nd century rework of Throbbing Gristle's 'Discipline' this time minus all pretense & lunatic babble. Billy Meyer can write all the love letters he wants on behalf've Rafel Toral, but Tropa Macaca are EASILY at the forefront as Portugal's BEST Avant electronics improvisers since Anar Band went their seperate ways." - in Siltblog

  008 / Charles Cohen & Ed Wilcox / Those Are Pearls That Were His Eyes / 12.00 / RR08 / CD / Cover by Ed Wilcox. Sound clip 1 2

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