Mal Devisa - Kiid - CASSETTES

Berlin Philharmonic Wind Quintet - Wind Quintets in G Op67 [COMPACT DISCS] date 10/12/1994

Hitting play on SEAMOSS2, the latest missive from Portland noise-tinkerers Sea Moss, is like punching the big red button on a cartoon bomb before it explodes into a multicolored mushroom cloud. From the second InchNap TimeInch revs up, vocalist Noa Ver and drummer Zach D'Agostino absolutely clobber the listener with a distorted hodgepodge of sounds as raw and violent as they are winkingly playful, as if Black Dice and Melt-Banana were caught in the middle of some kind of psychotic square dance together. The duo's setup-which involves a primitive assemblage of hacked feedback oscillators, colorful Rococo tin boxes, and a contact mic plugged directly onto Ver's neck to capture her barking intonations-harkens back to an era of DIY where live performance meant everything. Blurring the line between reckless improvisation and tightly-knit compositions, the band achieves a disorientingly complex interplay. Though Sea Moss's music may initially seem to be an act of pure blunt force, the duo's true prowess lies in the intricacy of their rhythmic interplay. As freeform as it all might seem, SEAMOSS2 contains the band's most potent, precise compositions yet, refining the distinct style they forged on disorienting releases like Bread Bored and Bidet Dreaming into a thrilling act of controlled chaos. In an era where the communal spirit of DIY feels more difficult to achieve than ever, Sea Moss embody the classic ethos of weirdo punk music in all it's absurdity and wonder. It's this same sense of scrappiness that's earned them attention from legends like Lightning Bolt and Machine Girl, and SEAMOSS2 illustrates why they're every bit as deserving of their own trophy in the noise-rock hall of fame-one adorned in broken contact mics and scuffed-up scratches from one too many bloody basement shows.SIDE A1 - Nap Time2 - Candy Run3. -Pig's Feet4 - Split HairsSIDE B5 - Feeding Frenzy6 - S

Ata Kak created a peculiar slice of Ghanaian music history with his debut album InchObaa SimaInch. While it barely made a ripple at the time of it's in 1994, the cassette found a new life online in 2006. A not-so-underground cult obsession grew after it appeared on the blog Awesome Tapes From Africa as it's very first post, a sort of manifesto for the project. His addictive amalgam of left-field electronic music and Twi-language hiplife reached surprising levels of awareness among music fans of many stripes. The mystery behind the musician's identity grew. Eventually Yaw Atta-Owusu came out of the shadows, from his quiet home in Kumasi, to tour the world playing high-energy, sweat-soaked performances at major festivals like Glastonbury, Sónar and Pop Montreal. Now, for the first time since 1994, Ata Kak releases new music. Honed in studios around Kumasi over the last several years, the songs feature the rapper-singer's acrobatic rap, signature scatting, dramatic drums and even traditional Akan harp. The compositions are more ambitious than his earlier work, with more complex arrangements and layered harmonies. Ata Kak's new songs are also the natural expression of a restless artist-he is a prolific poet and author of a half-dozen books, as well as an active gardener and busy painter. Born in Ghana in 1960, Ata Kak wasn't always involved in music. But his travels and openness to the world lead him into the music industry. While living in Germany, he was invited to play drums in a reggae band and subsequently played in highlife bands in Ontario after moving to the Toronto area. He recorded InchObaa SimaInch there at his home studio and released it in Ghana in 1994. He didn't participate in music much in the intervening years until InchObaa SimaInch was reissued in 2015. He started performing his song live with the help of a brilliant cast of London-based musicians and