Metal Cross - Soul Ripper - COMPACT DISCS [CD]

What is your wish? What do you expect? Cross Record's self-titled third album begins with Emily Cross's disembodied voice intoning from an otherworldly vacuum. In the three years since her last album, Cross has divorced, quit drinking, become a death doula, started the observational podcast What I'm Looking At, and toured and recorded with Sub Pop's Loma, the trio she formed with Dan Duszynski on drums and Jonathan Meiburg (Shearwater) on guitar / vocals. On Cross Record, she guides the listener like a sonic Virgil, delivering a textured soundscape of meditative curiosity, akin to Low's Double Negative, Broadcast's The Noise Made By People and Radiohead's Kid A.The record's themes of departure and separation were inspired by changes Cross made in her career. After years of work as a nanny and in customer service, she recently embarked on studies to become a death doula. Similar to the services provided by birth doulas, a death doula helps clients navigate decisions and hardships at the end of life. In her new role, she created a three hour ceremony called a Living Funeral, which guides participants through the rituals of their own deaths. Her work in helping others face their greatest fears inhabits the same space as her art, which has always explored the metaphysical in the everyday. The eerie experience of listening to this record and the unsettling sense of songs slipping from coherent grasp share these same sensibilities. The oddness of these songs is nonetheless honest and truthful, and to understand them requires acknowledging notions of alienation in ourselves.

Metal - Metal [COMPACT DISCS] Argentina - Import date 06/17/2014

Electronic Music from 1972-2022 seeks to frame fifty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 (InchThree ConfusongsInch and InchRyound ThygizunzInch, featuring the voice and poetry of Stefan Weiser - later known as Z'EV) up to the present. This collection is not meant as a definitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival marking Carl Stone's evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving. Stone's practice emerged from the repetitive archival process of his graduate job at CalArts preserving vinyl recordings by dubbing them to tape. With perhaps 10,000 albums ranging from Renaissance and electronic works to music from across the globe, he had to re-record multiple discs concurrently, creating chance collisions and coincidences. In the decades since, he's explored various ways to compose this process, creating temporal envelopes in which found sounds - existing tracks or field recordings - can take form. Whilst the technologies he's used have changed and samples have varied beyond categorization, what's remained consistent is his concern for organizing temporal experience using fragments of pre-existing sounding events. Stone's impish collage-like constructions of times cut from time suggest that archival records are neither wholly in documents preserved from change nor in living memories and use, but in their interaction.