Camera - Systeme Solare 12" EP

2013 Bureau B, MS 977196 BB139

A1: Skylla
A2: Meteor
B1: Skylla (Remix by Solyst)
B2: Meteor (Remix by Alvin B. Clay)

This white vinyl 12" EP by Camera is the other Record Store Day 2013 release from Bureau B that I referred to in my recent review of that label's other three releases for RSD 2013.

Camera are a German band producing modern-day "krautrock" or "space rock" styled instrumental music. The trio behind the Camera - Franz Baargmann on guitar, Tim Brockmann on keyboards, and Michael Drummer on drums (with a name like that he must have felt compelled to take up that particular instrument) - have been making such a big impression on the "kosmische" music scene that a certain Mr Michael Rother (Kraftwerk, Neu!, Harmonia) has joined them on stage on several occasions. Their debut album Radiate! was released in 2012 by Bureau B and offers a fantastic slice of the genre; I'd recommend it to anyone keen on progressive instrumental rock.

This EP, however, was recorded at session in February 2013 and sees the trio joined by bassist Shaun Mulrooney who is credited on the Radiate! album only as "Invisible Man", so I'm guessing he's just an occasional band member.

"Skylla" offers much promise opening with a Tangerine Dream-like analogue synth pattern and then delivers magnificently as an insistent drum beat kicks in and is joined by bubbling synthesiser melodies intertwining around one another whilst a plaintive lead motif (not sure if it's another synth or else an EBow guitar or similar) provides a sense of melancholy amidst the maelstrom. The track rushes to a climax with grinding guitar added to the mix before the whole thing rapidly dissolves away to nothing.

"Meteor" effectively gives us more of the same, but ratcheted up a notch. With an arpeggiated synth groove, crashing drums and guitars it feels like the band are going for it at full throttle. Guitar feedback squeals give the track a very "live" feel; I can't help but think if ever The Jesus & Mary Chain decided to produce a kosmische song it would sound something like this.

On side two we get the same two tracks again, but this time in remixed versions. "Skylla (Remix by Solyst)" brings in a new bass motif and moves with a much more relaxed pace than the original track. It's also more atmospheric with emphasised percussion sounds and a new plucked string melody line. This time the whole track dissolves in a minor cacophony of radio interference and static.

"Meteor (Remix by Alvin B. Clay)" offers a more predictable "thud thud thud thud" four-to-the-floor dancefloor filler style, and probably features much less of the original source material than the first remix on this EP. It's a bit of a stomper but somehow manages to retain the atmosphere and urgency of the original.

Although this was a Record Store Day 2013 release limited to 700 copies, Bureau B still have a few copies available via their website. If synth-based instrumental kosmische music is your thing, snap one up soonest!

Goat - Stonegoat/Dreambuilding 7" single

2013, Rocket Recordings, LAUNCH058

A: Stonegoat
AA: Dreambuilding

I've been meaning to write about Goat, the Swedish tribal voodoo hippie world funk collective, since the conception of this blog. Their album World Music released in 2012 has to be one of the most original records I've encountered in many years, whilst an album's worth of remixes of "Run For Your Mama" spread over two 12" Record Store Day 2013 releases are also worthy of their own blog item. However, for this particular blog post, I am going to focus on Goat's brand new, hot-off-the-press, double A-side single Stonegoat/Dreambuilding. For the serious collector there are actually three distinct pressings of this single, as it has already been released by Stranded Records in Sweden on 12" white vinyl, and by Sub-Pop Records in the USA on 7" black vinyl. The releases also differ in that the Swedish and USA editions both have "Dreambuilding" on Side 1 and "Stonegoat" on side 2, but the UK release has reversed this.

My copy is the UK release from Rocket Recordings (distributed by Cargo Records), and is a 7" single on green vinyl... which was weird because the press releases I've seen for this record said it was going to be pressed onto purple vinyl (which would have been a better match for the sleeve artwork). I couldn't tell you whether this was a last minute colour change, or if purple vinyl copies also exist. [EDIT: according to the Rocket Recordings blog, there were 200 copies pressed on white vinyl and 800 on purple vinyl. No mention is made of green vinyl.]

But never mind the packaging, what's the music like? Those familiar with World Music would have some idea what to expect. Plenty of tribal-style percussion and drumming, frenzied half-chanted/half-sung female vocals, and some glorious fuzz guitar. "Stonegoat" is a slice of tribal psychedelia informed by Led Zeppelin, with a 1960s fuzztone rhythm guitar overlaid with with an insistent guitar/bass riff before Goat's priestesses chime in with a semi-deranged vocal delivery. And - as if all that fuzz guitar wasn't already enough - in kicks a seriously fuzzed-out guitar solo, and with that it's all over and done and the stylus hits the run-out grooves at the centre of the record.

"Dreambuilding" is swiftly propelled along by an urgent harmonised wah-wahed guitar riff over an articulate fuzz bass, punctuated by the priestesses' almost-childlike vocals and a myriad of crazed percussion. The whole thing feels like a highly agitated voodoo ritual ceremony, the culmination of which is another blissed-out guitar solo. Once again the song is over far too quickly, with the listener being left feeling they are the survivor of a unexpected hurricane which has just passed overhead, and clinging to the wreckage of their auditory senses.

Currently available from Cargo Records. The other editions I mentioned may still be available.

Bureau B's Record Store Day 2013 12" EP releases

LLOYD COLE & HANS-JOACHIM ROEDELIUS - NNNNeonLLLLights
ROEDELIUS SCHNEIDER - Well Sustained / Schlummer
2013, Bureau B, MS976516 BB135

QLUSTER - Am Horizont
SCHNEIDER TM Bimanual Complexity (Gebrüder Teichmann Togo Mix)
2013, Bureau B, MS976526 BB136

JUNIOR ELECTRONICS - Mr. Mercator
MOEBIUS & TIETCHENS & JUNIOR ELECTRONICS - Herrlichkeit (Ken Charlton) / MOEBIUS & TIETCHENS - Tiefland
2013, Bureau B, MS976536 BB137

Bureau B is a German record label specialising in largely instrumental, electronic, experimental and avant garde music. Some of it you might want to call "krautrock", just so as to give it a label, but that rather lazy umbrella term doesn't necessarily seem to fit all the styles of music, especially more introspective instrumental ambient works where the "rock" element is quite irrelevant.

For Record Store Day 2013, Bureau B released a trio of double A-side 12" EPs, all similarly packaged in sleeves bearing the same design (note the subtle changes in colour between the different releases) and with the records being pressed on white vinyl. (I've said it before already, what IS it with white vinyl? Surely, the most boring of vinyl colours, outside of traditional black.)

Moving quickly onto the first of these three EPs. Put all thoughts of the similarly titled Kraftwerk song out of your head, "NNNNeonLLLLights" is an original composition, an outtake from the recording sessions for the Lloyd Cole and Hans-Joachim Roedelius collaboration Selected Studies Vol. 1. It's a minimalistic semi-ambient piece with background electronics overlaid with tuned percussion (marimba or xylophone or something similar) giving the track an oriental flavour. Roedelius must be one of the most prolific musicians in the avant garde, and he appears also on the other side of this record teamed up with Stefan Schneider as Roedelius Schneider. The first of their two pieces here, "Well Sustained" features more tuned percussion, and various electronic sounds and effects over a simple electronic pulse of a bassline. Gradually a melody emerges as various sounds drift in and out of the mix. I think there's even a guitar in there somewhere. All in all it's quite a hypnotic brew. "Schlummer" is of similar construction although with acoustic instruments such as piano being more prominent, and perhaps, I fancy, a little acoustic guitar being strummed too. The layers build up over a simple walking bassline to create a musical tapestry.

The second of these Record Store Day releases from Bureau B is the longest clocking in at 21 minutes (that's half an album). On one side we have "Am Horizont" by Qluster. A distinct entity apart from Kluster and Cluster, Qluster with a Q is Hans-Joachim Roedelius (him again!) and Onnen Bock. "Am Horizont" is a slowly developing but quite sumptuous piece beginning with an electric piano motif overlaid with various electronic and percussive sounds coming in and out of the mix. It's a very atmospheric and laid back piece; it's so relaxing that it is almost soporific, but I mean that in a good way; it's quite a beautiful piece of music. The other side of this disc is Gebrüder Teichmann's remix of Schneider TM's "Bimanual Complexity". On first listen this is quite a strange piece. While still minimalistic it's more lively than the piece of the other side of the record with a drum machine beat overlaid with a variety of strange and bizarre electronic sounds and samples. The original track is taken from the Schneider TM (a.k.a. Dirk Dresselhaus) album Construction Sounds. According to  Bureau B, "The album is what results when a delicate musician has to live amidst Berlin's construction noise for eight years, during the time when the former working class district of Prenzlauer Berg was transformed into a neighborhood for higher-income earners. Dresselhaus recorded the sounds and patterns produced by the construction workers and combined these moments with the electronic recordings that he made during this period..." With that little piece of knowledge, all the sounds of drills, breaking glass, power tools, assorted bangs and crashes, etc, make sense.

The third of these records features Junior Electronics on one side. Junior Electronics is in reality Joe Watson, a musician and sound engineer from Brighton in the UK, best known for his keyboard duties with Stereolab. The music here is quite different from the other pieces on this series of Bureau B Record Store Day releases and is quite poppy in nature. Not only is it not German, but here we have vocals too. "Mr. Mercator" is a jolly little romp of a tune. It's a piano-led piece, with a traditional sounding bass and drums in the background, along with the requisite electronics, of course. The other track on this side of the record, "Herrlichkeit (Ken Charlton)", is a Moebius & Tietchens piece that has been reworked by Junior Electronics inasmuch as he has put vocals onto it. Thankfully it is quite brief. I don't know who "Ken Charlton" is, and I feel like I am not being included on the artist's in-joke. This is easily the most throw-away piece on these three discs and is probably best forgotten. Onto the other side of this record and we have Moebius & Tietchens' "Tiefland", a track which takes a while to get started and appears initially to be a series of sound effects. Although a simple rhythm of sorts emerges from the random bleeps and bloops the piece doesn't really progress much beyond being a series of sound effects. Apparently it was an album out-take. It may have been better left on the cutting room floor.

So, to sum up, without a doubt the best of the bunch is the Qluster/Schneider TM disc; this is the one that I have had on the most frequent rotation. The disc featuring Roedelius Schneider is also well worth a spin or two, but less so on the Lloyd Cole & Hans-Joachim Roedelius side. As for the Junior Electronics/Moebius & Tietchens disc, you should probably give that one a miss.

Although these were Record Store Day 2013 releases, each limited to 500 copies, Tapete Records still have some left in stock at the time of writing, if any of them take your fancy.

P.S., there WAS actually a fourth Bureau B white vinyl 12" release for Record Store Day, but it was a separate entity from these three releases - it was by a single artist on both sides of the record and had its own cover art rather than the generic Bureau B design as on the above three records. However, I'm going to deal with this other record in a separate blog post.

BEAK> - 0898 / Welcome To The Machine

2013, Invada Records, INV120LP

A: 0898
B: Welcome To The Machine

This is another Record Store Day 2013 release, and comes relatively hot on the heels of BEAK>'s previous single release, "Mono"/"Kenn". BEAK> are an underground supergroup of sorts, comprising of Geoff Barrow (Portishead), Billy Fuller (Fuzz Against Junk), and Matt Williams (Team Brick). Their working method in the recording studio is unusual, recording everything as it happens live in one take without resorting to any overdubs or repair.

"0898"/"Welcome To The Machine" is a single record released on 10" white vinyl. (What is it about white vinyl these days? There seams to be an over-abundance of the stuff. I seem to have bought more records recently pressed onto white vinyl than I have on traditional black vinyl.) The timings of the two tracks would have allowed them to have fitted onto a 7" single, although I guess 10" appeals more to the collectors, and also considering that "Welcome To The Machine" clocks in at nearly 6 minutes sound quality may have been compromised on a 7" disc.

"0898" is driven by the bassline carrying the main melody over a simple 4/4 motorik drum beat, whilst an almost out-of-tune sounding synthesiser contributes a sense of unease to the proceedings. The vocals are low-key and have a mumbled quality to them, almost as if the singer would really rather be doing something else, anything else other than do the vocals. This might sound as if I'm criticising, but I'm not because strangely it all works. I guess it's all part of the BEAK> trademark sound.

The b-side, "Welcome To The Machine" is a cover version of a song from Pink Floyd's Wish You Were Here album, and is arguably the better of the two songs on this release. It features an appropriately machine-like bass and drums, with more of the "unsettling" synths sprinkled over the top. Again the vocals are low in the mix and "mumbled" - I don't think BEAK> really want us to be able to hear each and every word, it's more like they are using the human voice as yet another instrument in their arsenal. It's all a part of their experimental/kraut-like approach to making music.

This release was limited to 1,000 copies. I believe that Invada Records still have some left over from Record Store Day for sale on their website if you'd like to snap up a copy.

Wind - Sleep 10" EP

2012, Jansen plateproducksjon, JANSEN 020

A: Throwing Stones
B: Cathedral

I took a chance on this record after having read a review by Julian Cope on his website in November 2012. I love reading Cope's reviews, if I can understand them with his various obscure references, although on a few occasions I have searched online for music he has reviewed and found it to be, quite frankly, unlistenable. But I was intrigued enough by his review of this record by Norwegian trio Wind to track down a copy, which I ended up ordering online from Shiny Beast. It was a little costly, but when I received the record and was first able to listen to it properly on 10" white vinyl (record label Jansen plateproduksjon seem to favour white vinyl for some reason) I decided it was such a good record that it was worth the price.

The EP contains just two pieces - one extended track on each side - having a total playing time of around 20 minutes (which is why I am referring to it as an EP rather than a single). The songs are two slices of melancholy psychedelia, perhaps mixed in with a dose of ambience. These are very atmospheric recordings, at times it seems hard to believe it's just three guys creating this gorgeous blanket of sounds with a standard set of instruments: drums, bass, guitar and synth. The music is never over-stated or in your face, rather it is mesmerizing and sensitive.

Without wanting to sound patronising, I was quite surprised to find out how young these guys are (check out their photo here to see what I mean) because their music is so mature and thoughtful.

The cover, by the way, features a photograph of one of Dutch artist Theo Jansen's incredible wind machines, or Strandbeests, as he calls them.

Permanent Clear Light - Higher Than The Sun

2012, Regal Crabomophone/Fruits De Mer Records, Winkle 7

A: Higher Than The Sun
B: Afterwards

If you're one of the few vinyl junkies that does not already know about Fruits De Mer Records may I suggest that you check them out soonest? FdM specialise in psychedelia, progressive rock, krautrock, R&B, acid-rock, spacerock - and - more importantly they make these releases available exclusively on limited edition vinyl. Many fans of the label are subscribers and buy every release. Nearly all releases sell out quickly, with earlier records from the label sometimes turning up on eBay and changing hands for quite staggering prices.

Most FdM releases are cover versions, that is to say reinterpreations of classic songs by modern artists and a few other legendary and semi-legendary acts such as The Pretty Things and The Bevis Frond. However, a handful of original songs have been released on FDM's Regal Crabomophone imprint.

Released in the latter part of 2012, "Higher Than The Sun" is an original song from Finland's finest psychedelic three-piece, Permanent Clear Light. The song lives up to its title and delivers magnificently to lift the listener higher than the sun as best it can without assistance from substances. It is the perfect psyche record, laid back and dreamy with swirling synths and a cosmic guitar solo. On the B-side of the disc the band tackle Van Der Graff Generator's "Afterwards" and manage to put their own stamp on the song quite nicely.

I also should mention the sumptuous packaging of this single, which goes to illustrate the care and attention to detail that FdM put into its releases. The record sleeve is like a mini-album cover rather than the usual single "bag" (as the industry refer to them). It is printed on high quality board stock, and even has a spine printed with the artist, title and record label details, just like you'd expect on an LP record. The artwork on the cover in this instance is a 3D image of the sun courtesy of NASA and a pair of red/blue lensed 3D glasses is included with the record inside the sleeve, along with a fold out poster of the 3D cover art. The record itself sits in an inner sleeve (nice to have one of those on a single!) and is pressed on coloured vinyl. My copy is a bright yellow/orange colour, but I know that a translucent lilac was also available. I think I prefer the colour of the copy that I have; it fits in better with the artwork and theme of the record's title track. But whatever... I told you it was a sumptuous package.

I believe that FdM quite remarkably still have a few copies left of this single. If you like psyche music, I can't recommend it heartily enough, so get yourself over to the FdM website and order yourself a copy.

Permanent Clear Light, by the way, have just released their debut album, "Beyond These Things". At the moment it is available on CD and as a download, but I am holding out on buying a copy so far as I have heard whispers from PCL guitarist Markku Helin that a vinyl edition may be in the pipeline. The album includes a version of the song on the single reviewed here, the album version being titled "Higher than the Sun - Astral Travel" so I'm hoping it's an extended version with added psychedlic elements!

The Conny Plank re-Work sessions

2013, Grönland Records, 12GRON123

A1: Eurythmics - Take Me To Your Heart (Popnoname Remix)
A2: Moebius & Plank - Infiltration (Walls Remix)
B1: NEU! - Für Immer (Eye/Boredoms Remix)
B2: Eurythmics - Le Sinistre (Kreidler Remix)

This was a Record Store Day purchase. It's a 12" EP featuring four tracks that have been reworked by the late legendary German record producer and audio engineer, Conny Plank. This was on my list of records to look out for on Record Store Day last month. I was referring to my list whilst asking the proprietor of Tangled Parrot in Carmarthen, Wales, which titles he had in stock. Seeing the list in my hand he commented that he had the Conny Plank record in stock and did I want it. "Oh yes please," I answered and grabbed the record as he passed it over and added it to my growing pile of purchases without actually looking at it.

When I got home, I saw that the Conny Plank record contained two songs by The Eurythmics. Had I seen this in the shop I probably wouldn't have bought it as I am no particular fan of The Eurythmics, not being overly fond of Annie Lennox's voice (and if you ask why, just listen to "There Must Be An Angel". I really can't be dealing with that kind of over-the-top singing with too many notes crammed in to each syllable).

However, on playing the record and listening to it several times over, it soon became the favourite of all my Record Store Day purchases. The Eurythmics tracks are both excellent, Lennox's voice is nicely understated and they fit in nicely with the two more "krautrock" style pieces. The version of "Für Immer" by NEU! (one of my very favourite acts) feels as if it has been broken down into its component parts and then re-built in an enirely new shape. And why not? If I want to listen to the original version, I can always play "NEU! 2". "Infiltration", the Moebius and Plank piece (Conny Plank himself along with Dieter Moebius, best known for his work with Cluster and Harmonia) feels like it's going to be a weird ambient instrumental piece to start with but soon develops into the most incredibly hypnotic "kraut" vibe.

So yeah, it's a great record and one which I'm so pleased that I bought. It's just as well I didn't see the tracklisting when I was in the shop as my Eurythmics prejudices would have gotten the better of me. I now think that perhaps I've judged them too harshly and that I should discover more of their non-hit single work.