Wednesday, August 28, 2013

P048: Cabeza de Vaca – Drum n bass

Our inspiration for the program has always been to cross uneven terrain and uncharted lands and part of a shamanistic approach is also to read the signs in the surroundings and that is pretty much all the inspiration needed to have our first ever drum n bass show this week on Cabeza de Vaca and Scanner FM.

So what were the signs?

Firstly I listened to Felix K’s “Flowers of Destruction” album on Hidden Hawaii, one of those chance discs you pick up in a store or from following recommendation links on the net. Was an instant hit for its creepy Monolake-esque beat style and production which lead me on to Hidden Hawaii which is a treasure trove, but one that’s hard to dig up since if you don’t have the vinyl in your hand you have no chance. The original plan was to do a special on them, but one thing lead to another…



Drum n bass is not the only genre Felix K is into, clearly, though his formative years in drum n bass clearly give him a special sound. A focus on Dystopian (sic) elements also helps to keep things in tune with current trends. This is not a criticism of Hospital Records at all, but you certainly feel and hear a big difference between the two sounds. There is plenty of discussion over at Tea and Techno for what Felix is into at the moment and how his album has come about as well as a mix.

There is also another one here from the ubiquitous Boiler Room:




Speaking of Hospital Records, they mysteriously signed me up to their mailing list recently which is weird since there was no post even here on DnB for some time. They have been doing a lot of their big Hospitality shows of course. After listening to a lot of their newer stuff it was pretty easy to settle on the duo Nu:logic from whom I short listed quite a few tracks, but sadly couldn’t play them all.




Another sign was the recent Exit Records compilation “dBridge presents Mosaic Vol. 2”
 which was even better than the first one. It is a shame that there was only time for on track, even though dBridge turns up twice, once again with Instra:mental and not CMX to close the show.




Speaking of dBridge, he has also been branching out into techno as well under the name Velvit, though with mixed critical acclaim (the most recent scored a paltry 2.5 over at Resident Advisor)




Other signs out there include the recent Demdike Stare track “Primitive equations” from “Testpressing #002” which I nearly used to start the show, but in the end I considered it wasn’t “proper” enough. Andy Stott has had a few sneaky runs at drum n bass as well, among other artists.




And last Friday after I had committed, but before I had recorded (also a recurring theme these days), Resident Advisor decided to interview LTJ Bukem for the RA Exchange series. A masterful speaker and excellent musician. Have many good memories of seeing him play with MC Conrad live many years ago.






Number
Artist
Track
Label
Year
1
Unknown
hh.q.ii.qq.bb.qqq.h.r.iii.rr.g.rrr.ddd.s.ii.ss.aaa
Hidden Hawaii Solaris Series 3
2011
2
CMX feat. dBridge
Tesserae
Exit Records
2013
3
Emperor feat. Georgia Yates
Begin
Critical Recordings
2013
4
Nu:Logic
Brown shoes
Hospital Records
2013
5
Lenzman
Empty promise
Metalheadz
2013
6
Machine Code
Dischord
Subsistenz
2013
7
Genotype
Jam that feel
Samurai Red Seal
2013
8
Felix K
Flowers of destruction #6
Hidden Hawaii Ltd
2013
9
Instra:mental & dBridge
White snares
Nonplus Records
2013



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Wednesday, August 21, 2013

P047: Cabeza de Vaca – Ambient and experiemntal music special

Plenty of reviews to cover the content of this week’s Cabeza de Vaca show over at Scanner FM. Thanks as always to all those artists and labels who sent promos in and apologies if I didn’t have time and/or space for all. There will be another, special ambient show in only two weeks time.


Aquarelle – August Undone [Students of Decay, 2013]

Fans of Mountains should definitely pay close attention to this release. That is not to imply anything derivative on offer, but that Ryan PottsAquarelle project has delivered an essential album for fans of cinematic pos-rock-ambient to rival Mountains themselves. “August undone” achieves the perfect balance between stasis and movement, between loud and quiet, between dense and sparse without ever feeling like an imitation or resorting to emotional blackmail. Opening track “Within / without” is a perfect encapsulation of the album both in title and sound. The opening minutes blend waves of drones and noisy guitar with a distant tinkling piano before it all suddenly seems to go still, with what seem like real life summer beach waves lapping somewhere in the background. The sound clears and becomes fragile and spritely, the moody heaviness suddenly bristles with optimism as it slowly reverts to the opening sequence again. The rest of the album follows suit, using density and volume and emotional sleight of hand to create a diverse, intelligent and sentient panorama. This is played music, not thought music. The short and beautifully titled “Sandpaper winds” resembles the religious side of Popol Vuh and their similar untethered and instinctive modus operandi as a guitar gently strums away and lifts upward in naked and fragile joy. The epic “This is no monument” is almost Bardo Pond at times before it too clears into a more melancholy piano-led sequence. The finale “Clockless hours” returns the favour with a burning core of noise bookended by quieter sequences. A stand out release for the year beyond doubt.



Xiphiidae – Pass hidingly seek [Housecraft Recordings, 2013]
Xiphiidae – Quaking myth [Aguirre 2013]

Across the two Xiphiidae releases covered here, I kept getting the impression of hearing somehow the overlap of the actions of man and of nature. In particular, there was a very rural sense, albeit abstracted, reminding me of the uneasy harmony of the farm where everything is allowed to grow and roam free, where nature is close, but where everything is ultimately sown, including the “harvesting” of animals for food.

Xiphiidae is the long term project of Jeffry Astin who has been running and releasing on the Housecraft Records label from Gainesville, Florida for many years. Although his artist name is derived from the Sword Fish, a large predatory beats of the sea, Astin’s music is anything but predatory, albeit neither is it hippie New Age drone either. “Pass hidingly seek” was originally released on cassette in 2009, but only now on vinyl, and feels like farm yard pop refracted through a watery prism. Wah wah sounds control the texture of the album, marking it with drifts of current and the wash of waves as seen from below. But deep in the core of this is the source material, or what sound like a blend of field recordings and guitars that keep the emotion glued to pangs of old-time nostalgia. As well as the guitar-ish feel, many tracks also seem to contain animal noises, like birds, chickens milling in the background. The music has a pleasant innocence about it, perhaps linking the mood to the title, but by the end of the album there is a lack of tension or thematic development across the many tracks that is ultimately its overall weakness.




“Quaking myth” which originally dates from 2010 is a completely different beast, however. The first ten minutes sound like gamelan music played in a rain storm with a Word War II transistor radio playing softly in the background, a kind of tropical Java heat slowed to a crawl and trapped in a beautiful loop. The second track on the first side sounds at first like a harmonium drone fest or some of Charlamagne Palestine’s strumming music. The sound could be a crystal storm cloud gathering in to itself purple dusk hues as it condenses and sets down over a small town. But there is no disaster on touch down, only a soft blurring as the cloudiness becomes night and the threat merges into the quotidian activities of man, as captured in the field recordings. The second side opens with a phasing set of chords not unlike some of the moments from Popol Vuh’s soundtrack to Aguirre (which seems appropriate given the label!), particularly the metaphorical scenes of raging rapids, before it eventually slipping into a more languid drift work for just over 13 minutes. The album ends in a short vignette of a rusty gate come loose and grinding in the hot summer breeze before it too fades into silence, as if time has swept clean the farm and the jungle of all life and only the structures remain to crumble slowly.




Black Swan – Redemption [Ethereal Symphony, 2013]

“More drones for bleeding hearts.” The Black Swan returns with a limited edition CDr on Ethereal Symphony. Don’t let the near-white cover fool you though, this isn’t a feel-good album and the hooded figure on the cover isn’t any druid or guardian angel. The gloomy track titles will probably give it away before you even get to the music, but just in case, the disc inside is a Black-on-Black, with the first 17 copies including a one-of-a-kind, antique funeral invitation! As with previous efforts by the mysterious artist, the beginning and end of the album are particularly poignant. Here, the opening is a quiet and grainy build before suddenly exploding into an old cinema soundtrack. But the dramatic and nostalgic atmosphere gives way to moody and suspenseful drones, always with the feeling that something worse is about to happen. If there was any theme to the album it might be the dying light of a Hollywood star given the distinct opening and the central track “Fading glory” which returns once more to a film music feel. The rest of the album is a bleak and blurry drone soundtrack to an inescapable downfall that has to be resisted with a maximum of dignity and grace albeit with a relentless sense of futility. “Desperation” lives up to its name, turning a fuzzy, but hopeful symphonic swirl into a cathartic and hopeless mess of noise by the end. The long track “Atonement” surges like an inner spirit trying to purge itself and having a metallic production it feels like a kind of heavy, aural burden, before fading into the subtle symphonic sounds of “Inferno”, a kind or ironic logic as if to say that the actual world is hell, despite all the intense transformation and dramatic emotion in the music surrounding it. Black Swan saves the best for last, however. “Of Land and Water” starts by blending a big timpani sound, the first rhythm on the album, with waves of strings and another Black Swan trademark which is to provide a sense of longing and regret, and a desire to return to the music, no matter how dark and bleak it was. The end of every Black Swan album has the sense of death to it and it is always sad to leave, no matter what.

There is also a “name your price” Black Swan track available on his Bandcamp page  as well if you don’t manage to snag one of the album copies.


Tuluum Shimmering - Ulau Tau / Spirit Of The Sun [Aguirre, 2013]

This is Tuluum Shimmering’s third album this year after  a 46 minute untitled digital release on Blowing Up The Workshop ‎and the double cassette “Raag Wichikapache / Lake Of Mapang” on Space Slave Editions. The first side here, presumably “Ulau Tau”, feels like a long lost Pacific Tribe meeting Dolphins Into The Future. It is landlocked music, but one that pays homage to the nearby waves. It could be Hawaii with a tinkling piano imitating a ukelele. There’s also enough shells, congs and bells to feel closer to Tahiti or the South Pacific. Press notes say that it is a “homemade bamboo xylophone, homemade flute, acoustic guitar customised with buzz bridge, Roland digital piano, vietnamese gong, cymbal, rattle.” The fact that it may have been made in rainy England beggars belief. It is nonetheless a brilliant beach holiday mantra, a soundtrack for endless cocktails, for wind and sand sunset lounges, breeze in the hair and the palms swaying above. Over on the second side, the balance is quite different. The flutes are still there and the piano still twinkles in the background, but with a bluesier feel. The most notable addition is the drums, big toms toms buried deep in the mix and a twanging drone that moves in and out of focus. Its hard to know if the second side feels more religious or more like a soundtrack to a desert road movie. Tahiti feels closer to India here, though its hard to tell as the drugs had already kicked in sometime on the first side, or maybe it was just all those tequila sunrises sipped on the long white beach? In any case, this a mantric and very pleasing album for losing time and transporting yourself to another place.




Kevin Drumm – Imperial Distortion [Hospital Productions, 2008/2013]

There is not much more that needs to be said about this album it seems. Anyone curious for a background could do worse than head over to FACT Mag  where there is a primer as well as a historical context of the album that has just been re-released on vinyl. I must confess to being a bit uneasy about buying it based on a few Boomkat samples, especially after ending up with the re-issue of Drumm’s eponymous first album on Thin Wrist Recordings from 2010 which remains lovingly packaged, but hardly played on my shelf somewhere. “Imperial Distortion” is something else altogether though. It truly is a masterpiece, but one that is most definitely not for the iPod generation. To have any kind of experience with this album requires proper speakers and preferably a decent sized room for moving through. My first listen to this in such conditions nearly made me sick, but in a good way. The depth in the sound was simply staggering. The bass at times was cavernous, a cliché word for ambient, but in this case there is nothing else apt. The six sprawling tacks here are like flying at a steady height over black canyons whose bottom plummets away and then rises again to sea level, all in the darkness. There is a brooding and frightening presence in this lightless space, a presence which only makes itself felt at the end when the album closes in a crunching deluge of noise lasting only a few paltry minutes compared to the endless and timeless void that is the album proper. Ever since getting hold of this I have been trying to create for myself time and space to listen to it as it defies to be wallpaper music and requires activity and response. But its epic length, much like the Swans “Seer” album from last year, is a difficult barrier for an all-in-one session, yet it with six sides to choose from it can be assembled and reassembled at will. Any comparison with Aphex Twin you may have read is garbage, at least sonically, although it will be easy to hold this work up in the same high regard in half a century’s time. This is an album with profound impact and an extensive range. Finally, it is worth pointing out as well the poignancy of the cover image too. The front features a few plastic bottles in a dirty river in colour, like a modern version of Monet’s “Waterlillies”, while the inside features a World War II battle scene underway in black and white. There is hardly a word anywhere to be seen. Somehow this reflects the floating world within: society, mankind has become a dirty river burdened with pollution and consumerist flotsam and jetsam, while inside we harbour war. I remember a trip to Egypt several years ago and walking in a village suburb in Luxor and seeing such scenes. The once beautiful Nile, cradle of civilisation, choked with plastic Coke bottles.





Sleeper – From beyond [Room 40/A Guide to Saints, 2013]
With Moths – For silence [Room 40/A Guide to Saints, 2013]

Lawrence English’s Room 40 cassette sublabel A Guide to Saints has unleashed a second batch of relases for July 2013. Amongst them are a couple of New Zealand artists, including Sleeper (C.J Parahi) and With Moths. The former’s album “From beyond” features anywhere from two to four long tracks with different atmospheres. At least the press notes tell me there is four and each side has two names, but there is no discernible join between the two on each side. On side 2 “Edge of darkness”/“Creeper” is dark enough to bring it into the same sort of terrain as Kevin Drumm’s “Imperial Distortion” (see elsewhere) and is like an Industrial dreamscape, with grating fluorescent lights panning across landscapes etched from blackness and coloured in clotted smoke. There is a comfort in feeling at least the music might come from another room and is not really inside your head. The A side couldn’t begin any differently, however, and appears to be an ironic joke. The opening minute is like the soundtrack to some kitsch Celtic movie although it is quickly drowned in a deep pool along with the whole film. Time then becomes stretched and the scenes drag as they play it, struggling against the weight of water. It is beautiful without being blissful, like watching your life play out before your eyes while drowning.





With Moths album “For silence” may or may not have a reference to the Flying Saucer Attack track of the same name from the “Further” album [1994] who were certainly something of a hit in New Zealand, as they were in Australia. After all, they also released their impressive live album “In search of spaces” on Bruce Russel's Corpus Hermeticum and appeared on the “Harmony of the Sheres” boxset alongside one of the space rock idols of the time Roy Montgomery. Certainly there are some similarities with the FSA sound, to a point. The vocals that first appear on “Living the wait” bear more than a resemblance to Dave Pearce on FSA, being slightly tuneless and drowned in reverb and effects. There are also echoey low fi guitars too, but much less cathartic than the FSA sound. If anything, there is more of a touch of the Cure than FSA, with guitar feedback replaced by hazy synth drones and a certain psychedelic eastern feel from “Killing an Arab”.




Seaworthy and Taylor Deupree – Wood, Wnter, Hollow [12K, 2013]

More from the antipodes with Seaworthy, the electro-acoustic post-rock group of Cameron Webb (on this recording without Greg Bird and Sam Shinazzi) who is normally based in Sydney, Australia and his team-up with 12K head honcho Taylor Deupree. Here the emphasis is on the landscape as muse rather than as audio form. That is, this isn’t a soundscape, but a reaction to one played out on guitars, chimes and layers of synth and over field recordings. For inspiration, Webb and Deupree spent several days wondering through the snowy Ward Pound Ridge reserve a little to the north of New York recording the frozen rivers, wind, footsteps in snow and absorbing the site of white hills and wounded trees, damaged in the wake of Hurricane Sandy. Two of the tracks bear dates, February 21 and 22 from this year as a kind of audio diary and are the closest to an actual soundscape. But the emphasis of the album is on the three longer tracks “Wood”, “Winter” and “Hollow” which give the album its name. These tracks are essentially jams without riffs and hooks, just picked guitar, flutters of echo, the fading of notes and the forgotten promise of melodic progression. At times there is a strange lack of space as all the sounds compete for an audible middle ground, but in other moments there is a much greater sense of profundity, with the field recordings interacting more with the notes, or where the second guitar or the electronics comes more to the fore. There is a melancholy emotion running through the work, but sometimes it feels slightly muted, given its bleak source of inspiration and its sparse arrangements. “Hollow” is perhaps the richest track emotionally, with the long amble of “Winter” lacking another instrument to accompany the long haul to really emphasise its purpose. But this is an album for focusing and defocusing in slow motion, where the impression given by the purity of the recording and the tonality of the playing is as important as any invented emotion embellished on its surface. Here, the winter landscape is more like a mask or a mirror than its own voice.



Frozen thoughts – Calm before the storm [Glacial Movements, 2013]

More winter music in the heart of summer (at least in the northern hemisphere)! There has been a lot of movement at Glacial movements (sic) in the last few months. Not only has there been a digital album by Japanese artists Yuya Ota (more from him in our special Japanese ambient show coming up soon), but a new collaboration between Bvdub and Locsil as well as CD albums by Aida Baker and label boss Alessandro Tedeschi aka Netherworld. Somewhere in between all this was also Frozen Thoughts aka Petar Šakić and another digital album “Calm before the storm”. Geographically at least, there seems a long way between the Croatian capital Zagreb from where Šakić originates and the frozen tundra he evokes, although there are plenty of mountains nearby and one assumes this at least provided some of the inspiration. Here the album is divided in five long tracks for immersive listening with intermissions between the tracks of someone walking through the snow and environmental noises like wind and birds. The album is thus a kind of fantasy travelogue, with each track feeling like a chapter in the story. It is quite a dark tale, however, with all tracks playing off a brooding, isolationist feel with the exception of “Godlight” which feels almost a bit too bright and up-beat at times. But there are plenty of good ideas on the rest of the album, from the bleepy chimes opening “We are not alone” as if an ancient alien beacon had been discovered beneath the ice, whereas “Reflections of dead maidens” and “Eternity without time” are both exceptional portals to beautifully resonant inner space. Finally, the title track which closes the album does not betray and concludes the tranquility in a blizzard of granular noise and distant shrieks.




Mousecop – Greatest hits volume 2 [Rubber City Noise, 2013]

The first couple of minutes of Mousecop’s Greatest hits might not suggest an album that lives up to its titles. It’s all pretty goofy and standard low fi stuff, with growly vocals and dirty electronics, the kind of music your parents are always telling you “I could do that,” only this time they might be right. However, somewhere near the end of the first track, things start to get weirder and out of control. It sounds for awhile like C3PO and R2D2 are coming up on acid just as the Millennium Falcon starts lurching into hyperspace before touching down in a granular mess on Tatooine. From there onwards “Greatest hits volume 2” is a less predictable and more involving, combining gritty noise with a vast array of more palatable sounds and a collage approach to arrangements and some nice sequencing that joins it all together. The second track “Moldar encounters a dark spirit in the woods, Skully is skeptical though” briefly alludes to the X-files theme before diverting to a whacked out preacher intoning over a wash of noise. The third track is a country-like guitar jam reminiscent of Sunburned Hand of the Man or other New Weird American sounds that becomes a hazy backwards drawl as it closes. Things get weirder still with the fourth track with a constant rhythm of heavy breathing overlaid with a sprinkling of abrasive sounds and heavy noises as if the respiration were under attack. Somewhere towards the end you can hear a “real” band playing in the next room. The closing track “Where the shook window offers no respite” begins like a quiet, narrative story full of disembodied voices in detached locations. Not entirely satisfying, but full of humour and chaotic invention.



Billy Gomberg – False heat [False, 2013]

This is a minimal release if ever there was one from rooklyn.based sound artist Billy Gomberg. The whole recording sounds somehow frail, withered and almost half in and out of existence. I mean that in a good way. It takes about 12 minutes for the first side/track to almost register on the consciousness and then it sort of sits as a wavering, sickly line. The second side begins with a more corporal presence, contrasting the trajectory of different drones to form hypnotic overlays, like much of Éliane Radigue’s work. By the end it thickens into a heavier, eastern-sounding hum, but like the first side, the changes are almost invisible and the sense of time is marvelously distorted.




Number
Artist
Track
Label
Year
1
Frozen Thoughts
Eternity without time
Glacial Movements
2013
2
Sleeper
Edge of darkness
A Guide to Saints
2013
3
Savvas Ysatis and Taylor Deupree
Cloister
12K
2013
4
Aquarelle
Sand paper winds
Students of Decay
2013
5
Tuluum Shimmering
Ulau Tau
Aguirre Records
2013
6
Xiphiidae
Quaking myth side B
Aguirre Records
2013
7
Bvdub
Waiting for a friend
AY
2013
8
Black Swan
Of Land and water
Ethereal Symphony
2013



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Tuesday, August 20, 2013

P046: Cabeza de Vaca – Low-fi indistrial pop

A bit of an ambiguous title for this week’s Cabeza de Vaca show over at Scanner FM, but its hard to know what to call this motley collection of tracks culled from releases over the last 7 to 12 months with two classics thrown in for measure. Certainly the aim was to go Low-fi, although the second track Kasm and SuhniSea’s clear light/straight line remix of Skyscaper’s "Noctilucent Clouds" is an obvious exception. “Pop” was a useful addition since there was an emphasis on looking for vocal tracks too, though Shifted almost strips away the human presence from “I only see the lights” (and almost sounding like Regis in the process), whereas James Holden and Zombie Zombie don’t really need vocals at all. While on the later, I forgot to mention that the Arkestra, or what remains of it, will be playing this week in Barcelona and is the subject of another show this week on Scanner FM. Certainly the influence of Sun Ra continues to be felt across the board and especially in electronica where at surface level you would anticipate less influence than rock, but that is before considering his later excursions into electronic jazz.










The return of Cabaret Voltaire to vinyl is also long overdue. There is a box set due later in the year  and more next year. You never know, maybe a reformation gig or two?

Suicide open the show with one of my favourite tracks of theirs. It captures the really early, dirty druggy sound and is frighteningly proto-techno. “Mr Ray” originally appears on the duos second album and its subtitle dedicates it to “Howard T.” I cannot say who this man is and whetehr it is Howard T. Ray who comes up first in Google searching (check it), an ex-serviceman with a long record in Vietnam and more. The kind of all-American guy that Suicide would love to interpret and unravel. Indeed, it is hard to ignore how American and anti-American Suicide is at the same time. “Ghost rider” famously intones “America, America is killing its youth” just as the punk sun makes its first dawn in 1977. Then there is the album “American Supreme” that came out just after 9/11 and in something of a homage/parody of it and the notion of “heroes” that was dominant at the time. Then there is all the “Jukebox baby” 50s doo-wop influence, that knife twisting in the heart of the American dream.







The importance of Suicide to the idea of America may only need two examples to prove its significance and both are covers. One is none other than The Boss. No, not Tony Danza, but Bruce Springsteen who covered “Dream Baby Dream”. Then there is REM (see also last post) who covered “Ghost Rider”. The irony here is too “American idols” reconverting the electronics back into the guitar, the good old meat and veg instrument of “old time rock n roll” as Bob Seger would have it. That is, REM and The Boss tell us quite clearly that Suicide is just another folk band with all-American roots. REM's "Orange crush" single in the end turns out to be one of the great American singles, much like The Beatles "Penny Lane/Strawberry fields" was all-English in its day. On the B-side you have "Ghost Rider" whereas the A-side mixes imagery from American capitalist imperialism (the Orange crush drink, complete with advertising slogan lyics) and pure American imperialism in the war in Vietnam and Agent Orange. One cannot forget that it arrived at the dawn of the first Gulf War and just as the pro-American "art" propaganda of Vietnam war films and psycohological studies was reaching its pea at the end of the ugly yuppie decade that was the 80s.






Finally, they don’t appear in the trailer and no clear mention on the soundtrack listing, but presumably Suicide don’t appear in the forthcoming movie about CBGBs that is not a documentary, but a film with real actors.




“Mr Ray” also comes around the same time that Suicide recorded a live version of the Velvet Underground’s “Sister Ray” that would, like “Mr. Ray” go on to influence that famous Spacemen 3 track that was also meant to feature Alan Vega on vocals, although according to legend he never showed up at the studio to record with them.










And finally, apologies to The KVB as I accidentally changed the speed to 45 RPM and completely made a Chipmunk version without realising it. Will try to make it up to you!






Number
Artist
Track
Label
Year
1
Suicide
Mr Ray (Live At CBGB'S 1977)
Blast First
1977 / 1998
2
Skyscaper
Noctilucent Clouds (Kasm Remix Feat. SuhniSea)
Ghost Sounds
2013
3
The KVB
I Only See The Lights (Shifted Version)
Cititrax
2013
4
The KVB
Old Life
Cititrax
2013
5
Blood Music
Rare earth material
Diagonal
2013
6
Zombie Zombie
Illuminations
Versatile Records
2012
7
James Holden
The Caterpillar's Intervention
Border Community
2013
8
Acteurs
Lowow
Public Information
2013
9
Cabaret Voltaire
Red mask
Mute
1981 / 2013
10
The Cyclist
Reels
Leaving Records
2013


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