Kendra Steiner Editions

May 23, 2015

welcoming THE GARMENT DISTRICT, featuring Jennifer Baron, to the KSE family

Filed under: Uncategorized — kendrasteinereditions @ 12:59 pm

KSE will be taking a break for 2 weeks, off to the Mississippi, Alabama, Florida Panhandle Gulf Coast…orders which come in during the next 2 weeks should go out on June 8th. New releases for Summer 2015 will begin in late June.

As with the Spring of 2015, we have a group of 6 releases scheduled for the Summer from late June through September, and the first of these 6 Summer releases will be from an artist I’ve admired for some time, Pittsburgh songwriter-musician-bandleader-psychedelic beacon JENNIFER BARON with her project THE GARMENT DISTRICT.

 GD cover

Jennifer first came to many people’s attention back in the 90’s as a founding member of the acclaimed Brooklyn-based alternative band THE LADYBUG TRANSISTOR, but since then, she has become largely associated with contemporary psychedelia, and as someone who still flies the psychedelic flag proudly, I must say that she is a master…..(songwriter, producer, musician)….of all things trippy, and her present band, THE GARMENT DISTRICT, is devoted to the psychedelic experience. But unlike so many godawful “revival” bands, she freely mixes elements from different eras and also exists in the present, making music that would go over well in any hip club in any major city. She can remind one of 60’s bands such as The Peanut Butter Experience or the Vejtables while at the same time echoing new-wave bands such as Young Marble Giants or Human Switchboard…. or Bowie’s LOW….but Jennifer Baron really has her own recognizable style, and even in the furthest-out moments of her work, the sense of song-craft comes through. There is a mystical yet whimsical yet resigned sense that animates her work, and like an expensive wine, it’s got a complex character with echoes of different flavors. But fans of popsike, fans of Fripp & Eno (or 70s Eno in general), people who like the Jesus and Mary Chain, and people who buy Piccadilly Sunshine compilations will want to check out THE GARMENT DISTRICT. Also, the music is largely instrumental (vocals are handled by the wonderful Lucy Blehar) and thus able to create rich cinematic soundscapes.

KSE will be issuing a new album from The Garment District, “Luminous Toxin” (KSE #296), in late June, a brand-new creation made especially for our audience. However, UNTIL THEN….why not purchase a copy of the stunning LP “IF YOU TAKE YOUR MAGIC SLOW,” on Night People Records, which you can order here: https://midheaven.com/item/if-you-take-your-magic-slow-by-garment-district-lp#.VWDMCdLBzGd

 GD warhol

   from the Garment District performance in the Silver Studio Series at the Andy Warhol Museum, Pittsburgh

 watch the performance at  http://www.warhol.org/connect/silverstudiosessions/The-Garment-District/#.VV87ILlVikp

GD cassette


THE GARMENT DISTRICT is music by multi-instrumentalist Jennifer Baron. Currently based in Pittsburgh, PA, Jennifer was a founding member of Brooklyn’s THE LADYBUG TRANSISTOR https://www.facebook.com/ladybug.transistor (Merge).
In late 2011, Jennifer’s 11-song tape MELODY ELDER was released on Night-People Records. The sold-out cassette is available via Bandcamp, iTunes, Amazon, e-music. The tape features Jennifer’s cousin Lucy Blehar on lead vocals, and Jowe Head, of legendary UK bands Swell Maps and Television Personalities, on bass.
 

The Garment District has performed for The Andy Warhol’s Museum’s Silver Studio Sessions, and as part of acclaimed contemporary artist Doug Aitken’s Station to Station film project (Station to Station can be found here: http://video.wired.com/watch/the-sound-patterns-of-pittsburg-station-to-station).

Her three-song 7″ (released on the French label La Station Radar) features remix by legendary UK musician and producer Sonic Boom (Spacemen 3, Spectrum, E.A.R.).

In June 2015, The Garment District will have a new limited-edition CD release on Kendra Steiner Editions, an independent label and press dedicated to experimental music and contemporary poetry based in San Antonio, TX.
 

In 2013, Jennifer was invited to contribute a new song to Brooklyn-based ESOPUS Magazine‘s 10th anniversary issue (on a CD that also features music by Sam Phillips, Lee Sargent from Clap Your Hands Say Yeah, Julian Lynch, Jeff Mercel from Mercury Rev, John Wesley Harding, and more).

The Garment District has composed and performed original music for short films as part of the SYNC’D program, and contributed music to several compilations.
The group has opened for Julia Holter, at the VIA Music & New Media Festival, for Jenny Hval at The Andy Warhol Museum’s Sound Series, and for Cold Cave at 6119 Penn.

Jennifer’s video for “Nature-Nurture,” created by Pittsburgh-based filmmaker Keith Tassick, was a 2012 Design, Art and Technology Awards Finalist selected by the Pittsburgh Technology Council.
The video features 700-plus still photographs Jennifer took of Western Pennsylvania television news over the course of one year (http://photosoftv.tumblr.com/).
As a founding member of Brooklyn-based band The Ladybug Transistor (Merge Records), Jennifer released numerous recordings on LP, CD, 7″ and compilations; toured extensively in the US, Europe, Canada, and Scandinavia; collaborated on a cover of “Puis-Je?” with the late legendary Soft Machine co-founder Kevin Ayers; contributed a cover of “I Found A Reason” to the Velvet Underground tribute CD, Rabid Chords; toured with bands such as Of Montreal and Superchunck; and performed at international festivals, including The Bowlie Weekender–the first All Tomorrow’s Parties–in Camber Sands, England, which was curated by Belle & Sebastian.Jennifer is also co-coordinator of Handmade Arcade, Pittsburgh’s first and largest independent craft fair’ co-editor/contributing photographer for the award-winning book, Pittsburgh Signs Project: 250 Signs of Western Pennsylvania (Carnegie Mellon Press, 2010); and a contributing essayist to THE FIRST TIME I HEARD THE SMITHS, part of Scott Heim‘s book series, The First Time I Heard.
 
The Garment District
http://thegarmentdistrictmusic.com
http://thegarmentdistrict.bandcamp.com
http://soundcloud.com/thegarmentdistrict
http://www.facebook.com/TheGarmentDistrict

Videos
https://vimeo.com/user7134359

 GD pitts

Follow all the links above and you’ll get a good sampling of the magical pop-sike goodness of THE GARMENT DISTRICT….and be sure to pick up the new album on KSE in late June.

Until then, I’m off….next stop, Biloxi, Mississippi…..see you all in two weeks….

May 20, 2015

GIFT FIG: the duo of ALFRED 23 HARTH & CARL STONE, “STELLENBOSCH” (KSE #298), live in South Africa 9/2014

Filed under: Uncategorized — kendrasteinereditions @ 8:18 am
Tags: , ,

A23H SA poster

GIFT FIG:  the duo of ALFRED 23 HARTH & CARL STONE

“Stellenbosch” (KSE #298)  CDR album

recorded live in South Africa, September 2014

Alfred 23 Harth: Reeds, Dojirak, Kaoss Pad
Carl Stone: Laptop and Voice

limited edition of 150 copies 

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

GIFT FIG STELL

The first GIFT FIG album, released by KSE in January 2012, was one of our most popular and acclaimed releases. The combination of two such pioneering and beyond-category figures as Harth and Stone provided not just telepathic improvisation and spontaneous composition that mixed and merged each other’s contributions until trying to separate out the parts became irrelevant….but also a kind of “third mind” came into being. About the 2012 Gift Fig album, Massimo Ricci wrote, A meeting between two big names whose partnership would have been nearly unthinkable just a few years ago. But there’s something that links Alfred Harth with Carl Stone besides their indubitable artistry: the influence of Asian cultures on their respective lives and crafts (one is based in South Korea, the other in Japan). These six tracks constitute a compendium of two concerts occurred in 2009 and 2010 in Frankfurt and Tokyo, but the extremely high quality of the sound and the lack of audience noise makes the CD comparable to a studio work.

The set is basically built upon Stone’s transformation (via Max/MSP) of Harth’s emissions, with subsequent additions of further pre-existing materials. The palette is obviously homogeneous: Harth also treats his “babies” (which include Eastern wind instruments like taepyeongso and dojirak) with a Kaoss pad, and uses bows on the instrument’s bell and in other parts too. Both employ samples and voice. But the description of the sources doesn’t excessively help clarifying how this uncompromising record sounds. The material, at least from what I gathered by repeated listens, appears mostly improvised. Many different scenes succeed in ever-radical spurts, without concessions to any kind of easiness or relief; a latent tension informs the bulk of the sonic settings, which in some moments approach a near-explosive configuration. Percussive aspects are frequently privileged, the mechanical features of the reeds amplified and expanded to become an out-and-out menace: imagine a giant crab walking towards you with bad intentions (“Adler_Kino 23 Gu II”). Somewhere, Harth’s pulmonary exhalations morph into powerful winds deprived of a chunk of the frequency spectrum. And I could go on.”
However, this new STELLENBOSCH album, recorded live during a tour of South Africa in September 2015, is quite different. It’s an album with more space, an album which incorporates distant shores into its landscape, but even though at its heart is intuitive multi-levelled improvisation, Stone’s background as an electronic composer and Harth’s background as improviser and collagist always inform the paintings in sound. It’s spell-binding, it raises the listener into a higher state of consciousness, it features a good amount of Harth’s virtuoso reed playing, and it takes the concept of “deep listening” one associates with 70’s works such as the duo version of the Spontaneous Music Ensemble and ups the ante to the 23rd power.  The possibilities within improvisation/spontaneous composition have grown exponentially each year since the 1970’s (which had grown incredibly since the jazz-based blowouts of the mid-late 60’s), and while this album would have appeal to someone weaned on, say, the Sam Rivers/Dave Holland duets on Improvising Artists, on another level, it makes that kind of thing, progressive in its day, sound like ragtime.
A beautiful, challenging, deep, and transcendent series of spontaneous sound-collages, recorded live, from two contemporary masters who continue to blazing down the highway toward a horizon of pure possibility.
ALFRED 23 HARTH and CARL STONE……the duo of GIFT FIG.  STELLENBOSCH (KSE #298). Two contemporary explorers in sound and aesthetics. We’re honored to release this new album, but warn you it’s limited to 150 copies. GET YOURS NOW. Ordering information can be found at the top of this release announcement.

gift fig foto

Visit Mr. Harth online at http://alfredharth.blogspot.com/

Visit Mr. Stone online at http://www.sukothai.com/

Gift Fig 2

watch a live performance of GIFT FIG here: http://isitnecessary.tumblr.com/post/50018241962/dotolimpic-2012-day-1-gift-fig-carl

—————————————————————————————————————

Whiie ordering this GIFT FIG–STELLENBOSCH album, why not pick up some of KSE’s other CDR albums of contemporary forward-thinking music:

KSE CDR’s OF EXPERIMENTAL MUSIC NOW AVAILABLE: 

full-sized KSE CDR’s ($8.00 each, ppd. in US—outside US $11.50)

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

MORE EAZE COVER

NEW FOR 2015: KSE #293, MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307, STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292, DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

,,,,,,,,,,,,

This is the sixth and final release in KSE’s Spring 2015 group of albums. Thanks for your support of and enthusiasm about these works. When I listen to the recent albums by Derek Rogers and Fossils and Marcus Rubio (More Eaze) and Steve Flato, I’m honored to have played a part in bringing them to you. These would have been my favorite albums of the year no matter who released them, so for KSE to be releasing them is truly a dream come true.

We will be back in mid-to-late June with an amazing new psychedelic creation from Pittsburgh’s THE GARMENT DISTRICT (featuring Jennifer Baron), “LUMINOUS TOXIN” (KSE #296)….and then after that, a stunning new duo album from LISA CAMERON and ERNESTO DIAZ-INFANTE, “SOL ET TERRE” (KSE #299).

May 2, 2015

“stylistic deautomatization” (KSE #293), the new album from Marcus M. Rubio’s MORE EAZE

Filed under: Uncategorized — kendrasteinereditions @ 6:18 am

MORE EAZE (aka Marcus M. Rubio)

“stylistic deautomatization”

KSE #293 (CDR album)

limited edition of 48 copies 

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

MORE EAZE COVER

For his THIRD KSE release, Marcus M. Rubio (under his MORE EAZE moniker) serves up a mind-blowing creation that sits proudly among our recent kaleidoscopic slice-and-dice electronic skronk creations from Derek Rogers and Fossils. However, whereas Mr. Rogers is the small-detail pointillist of the group and Fossils are the action-painters of the group, with drips and drops flying everywhere, MORE EAZE is the one who is super-knowledgeable about various music traditions and has set out to reference and subvert them. He did that with the song form on his amazing LAND OF DISENFRANCHISEMENT cassette album; here the deconstruction is on a much deeper and radical level. I’ve always admired an artist who front-loads a work with the most extreme and radical piece, and the first track here is one of the most radical and confrontational pieces I’ve heard recently….and will have you wondering if your CDR or CD player is defective. Other pieces will melt into an echo of a song, with the kind of warped plasticity you see in a Francis Bacon painting….wiith the same disquieting edge. But at the same time, the pieces are logically structured and balanced, with the hand of the composer’s controlling intelligence always evident to those who seek. Also, the album was intended by MORE EAZE as a way to utilize chunks and elements from OTHER pieces and performances and to re-contextualize them in new creations. I’ve always admired works in any discipline which integrate found elements, but I must say that I”ve NEVER heard it done in this way before. Let’s let Marcus M. Rubio himself explain this process and his vision for the “stylistic deautomatization” album:

MARCUS M one

“shortly after my last KSE release, I decided to start recording/releasing/performing most of my music under the project name more eaze. cities sinking down really opened the doors to finally treating all of my various musical interests as gestalt of sorts and it seemed that a name change should denote a shift in this focus. key to the project idea and to the pieces heard on this release is the idea of destroyed materials from songs, improvisations, compositions, samples, etc…being reconfigured and twisted into something that is totally new yet still reminiscent of all their parts while being collaged with new and edited material. as a result, this music is simultaneously song based and more compositionally abstract with one element or another sometimes taking the foreground. I like to think that the more eaze material is constantly questioning what is the “real” thing that you’re listening to (this was an idea that very much came from cities sinking down). this is further reflected in how the organic and electronic sounds on each track are processed and often indistinguishable from one another. much of the recent work on this disc has had more of an overt influence from various strains of dance music, hip-hop and r&b-I’ve particularly been fascinated with how closely related the music making processes of those styles are to creating avant garde electronic music and noise and this dichotomy has played an integral role in the construction of these works. these pieces take timbral elements of these styles and often re-purpose or deconstruct these signifiers into new material.”–Marcus M. Rubio

I regret having assigned in advance this incredible creation to KSE’s short-run series of 48 copy editions….it’s really a major release. We may have to do a second pressing, but if we do, it will be labelled as such, so get your ORIGINAL EDITION now, while you can. Marcus will have copies for sale at his shows also, in about 10 days. It’s hard to think of anyone, except maybe Matt Krefting, who can work in such a wide range of styles and be totally masterful and convincing in all of them. This album contains some of the most extreme electronic sound-sculpture you could imagine (or actually, that you COULD NOT imagine), yet it also contains shards of beautiful and moving song.

The only thing more exciting than seeing/hearing Marcus M. Rubio’s ascent in the last few years in a series of stunning releases is to be helping that ascent along by releasing some of the albums…and don’t forget to order Marcus’s banjo-based album from November 2014 CITIES SINKING DOWN, which is still available from KSE (scroll down for details).

The Austin-based (although originally from here in San Antonio, and we are proud of him!) composer and multi-instrumentalist will also be playing the KSE 9th Anniversary event in Dallas on July 30. Watch for details on that.

When this album was over, my jaw literally dropped—I felt as though I’d been through some intense and radical experience, with hints of familiar reference points, extended to me like ropes that are then pulled away, forcing me to fend for myself. Get your copy of this NOW. I’m sure the first edition will be gone soon…although we probably will have to go into a second edition, and if you are reading this in June or July, that is probably what you will be getting….same amazing content, though.

Whiie ordering this MORE EAZE album, why not pick up some of KSE’s other CDR albums of contemporary forward-thinking music:

KSE CDR’s OF EXPERIMENTAL MUSIC NOW AVAILABLE: 

full-sized KSE CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

STEVE FLATO

NEW FOR 2015: KSE #307, STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292, DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS BRIAN COVER

NEW FOR 2015: KSE #294, FOSSILS, “For Brian Ruryk” (a joint release with Middle James Co., KSE has only 24 copies of this)

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

remaining copies of new releases from 2014:

KSE #275 (CDR), ALFRED 23 HARTH, “China Collection”

GUIDE_20140611_0001

—————————————————————————————————————-

also, limited quantity of this beautiful German import on Moloko Plus Records

ALFRED 23 HARTH and WOLFGANG SEIDEL, “FIVE EYES”

cost for this is  $14 US and $18 elsewhere, postpaid

a23h five eyes

Create a free website or blog at WordPress.com.