Again we search into West Coast skies to an artist reaching for them. To Los Angeles, to Katie Gately, still in the throes of academe we find her, playing at new pop forms. This here record in July bloom is a bold and exciting taster of what is in store, around the corner. Six tracks of frightening ambition. A prime distillation in computer-music-pop. More alarming – this is her debut release, she has been making organised sound for just over a year.
Screech ,crumble, gurgle, crack…. the opening track “Ice” a storm of cluster tones and sequenced-bursts sets the standard. Then, to a potential Top10 smasher… gone mutant. “Last Day” is the first time we hear Katie’s voice, first looped and torn, then glowing, euphoric and beaming from deep inside a crashing-banging-beat system… I awoke from a little hole underneath the earth…
We follow similar patterns across this half-dozen. Fractured vocalisations, bittersweet harmonies, freaked alien voices all living, breathing in deep fried motherboards of acute computer programming and field sound. “Dead Referee” finds Katie on a post-apocalypse Basketball court, destroying waves of squeaks and crunches and cuts with a vocal refrain of high beauty, it Knifes through the noise.
Then, to “Left Half” the haunting reverb-calm before storm…. I’m gonna’ sew your face to my heart she whispers… “Stems” closes the record in a riot of tone and interference and alien acappella.
This is a new approach toward brighter days, mangled, beautiful, sun-reaching 23C Pop Musik for troubled times.
2. Last Day
4. Dead Referee
5. Left Half
Limited edition of 500 housed in debossed sleeve, individually hand numbered.
As Summer awakes we head toward the 4/4.
This is the first in our series of limited edition 12”s aimed at those dancefloors with nary a Guetta in sight. Presented in special debossed sleeve, numbered one-off pressings that give us the chance to introduce some of the most interesting names on our spectrum.
For our maiden voyage, we cross Europe, to sunnier climes, to Portugal… to IVVVO. A young producer with some early history on the estimable Opal Tapes and closely affiliated with the Photonz crew, the Future EP represents his most exciting work yet.
Six transmissions long- vinyl scarred, abrasive and heartbroken, IVVVO reaches into early UK Rave music for inspiration, but twists the endgame.The yearning vocal, the minor key whisper, the shuffling breakbeat, the bleep, the bloop, and the seeping tape bleed- all present. Yet IVVVO mangles these core elements of dance music past into something that sizzles headfirst into 2013.
Opening cut “Darkness in my Soul” kicks off the record in a sad-glare of tone bursts, aching lead lines and throbbing kicks. Elsewhere he reaches into his bag for stinging hats, tweaked vamps and nagging hooks. All tracks clock in shy of five minutes. IVVVO’S way is the quick
release, the instant blast, the cute melodic touch… smouldering in warehouse black. No time for bloated dance formulas here.
And then, the piano. Bookending either side sits a pair of devastating miniatures, played on his Grandma’s piano, prepared, cloaked in hiss and ending these plates with a kiss of forlorn ambience. A funereal flourish to the Death of Rave… to the Future…
A1 Darkness In My Soul
A2 Before The Death Of Rave
A3 Rave pt.1
“The spores of TG breaking out all over. An alternative bloodline of electronic music; as if the interbreeding of Chicago and Industrial resulted in sleeper cells entering a long gestation all over the world. Genesis’ postal network as the carrier.”
(20 Jazz Funk Greats)
And so we splash into 2013 with an almighty throb, pulse-tone generators at the ready. This is Cloud Generating, debut record of malformed electronic-pop and modular fury from Chicago two-piece Acteurs. From the chest-rattling opening kick of title track to the radon hailstorm of dub-techno epic “Freezing Fog” it’s clear that the pair, Jeremy Lemos and Brian Case know their way around a mixing desk. Both have long, immaculate CV’s with the cream of the U.S alternative scene, and here they stretch the studio to its limit.
Acteurs: proponents of bass to make systems quiver, drums that punch the gloom, electronics to scythe and screech into darkest night – a psychedelic overload.
Dream an Acteurs dream. Sodium streetlights, grey smoke. Chromium staircases and black-glass buildings. Acid rains. Cyberpunk racers. Dead TV channels. Amped-out brains . Come join their future-primitive world of stark and brutal groove, metallic avant-pop and precise mechanical funk.
From the sun blemished bleep of Parry Music to the black marble night-haunts of Fingers Crossed. Public Information wraps up warm and closes its curtains for the winter months ahead. Our darkest record so far….The protagonists: Ivan Afanasyev and Anya Kuts (Red Bull Music Academy artist 2013). The location: deepest Petrozavodsk, Republic of Karelia, Russia. They are Love Cult and this is their debut LP.
Since 2009 Love Cult music has seeped through various ferric cracks (Blackest Rainbow, Brave Mysteries). They have travelled and toured with Ensemble Economique, High Wolf and Lucky Dragons. They run a cassette label, Full Of Nothing. But it is here on Public Information they find their perfect muse.
Wordless chorals from far far away… mangled Roland drum machines… decomposed Russian TV samples… endless microphone feedback… twisted Finnish kantele… throbbing bass dynamics… sky-bound folk songs… slow decay…
In freezing snow-tipped woodland, Fingers Crossed howls for your ears… nine stormy mantras from a beautiful lost space. The sad whispers of Grouper, the furious noise of Yellow Swans, the empty rooms of KTL, the gothic angles of Hannett , the crumbling ghosts of Basinski…
Distil these elements in hard vodka and minus-20 Karelia winter and you only come half way to understanding the lonely, strange music that Love Cult make; Fingers Crossed.
Mastered by Lupo at Dubplates and Mastering, Berlin. Artwork by Anya Kuts.
This is Tomorrow’s Achievements, an exclusive Public Information foray into the Canadian Library institution, Parry Music.
With access granted by founder John Parry we have selected twenty-five of our favourite electronic tracks, a late summer / early autumn heat-wave of perfect melody.
Parry Music was founded in Toronto, 1974 by John Parry and Chris Stone. John was formerly a manager of revered UK library Chappell Music and Chris was a Canadian music consultant, both brought some familiar musicians to the table.
Johnny Hawksworth, Robin Artus, Paul Kass, Nino Nardini (close allies with Roger Roger) are on board Tomorrow’s Achievements . At the same time we have a little known Canadian Library musician who features heavily, one Harry Forbes.
Forbes is the real driving force of our Parry-Love; a master of imminent, hummable melody, sublime synth miniatures baked in sweetness. Elsewhere we revel with the other players in proto-Balearic house, groovy electronic disco, spooked choral drone, freaked-modular scorch, weird Radiophonic bleep. These are the soundtracks to movie car chases never known, lost kids TV shows never realized, radio-ads never broadcast – music to make your ears sing for more.
A compliation put together piece by piece at Public Information HQ, lovingly re-mastered by Rashad at D&M and artwork by Jack Featherstone.
A1. Dawn Light: Robin Artus
A2. Bio-Rhythm: Paul Kass
A3. Digits: Harry Forbes
A4: New Invention: Nino Nardini
A5 Solar Energy: Russ Walker
A6: Alpha Micro: Robin Artus / Paul Kass
A7: Builders 2: Harry Forbes
A8: Integrator: Hermann Langschwert
A9: Sonic Rhythm: Barry Schleifer
A10: Technomobile No.2: E Grenga / C Lawry / D Stevens
A11: Future Directions: Rick Miller
A12: Turbo Motion: Robin Artus / Paul Kass
A13: Automation: Robin Artus / Paul Kass
A14: Utilities: Harry Forbes
B1: The Beginning: Johnny Hawksworth
B2: Time Lapse: Harry Forbes
B3: Poseidon: Paul Williams
B4: Cuboid: Kerry Beaumont
B5: Remote Control: Harry Forbes
B6: Moving Patterns: Barry Schleifer
B7: Instroscan No.2: Paul Kass
B8: Communications : Harry Forbes
B9: Panorama No.2 : Robin Artus / Paul Kass
B10: Drone No.1: Harry Forbes
B11: Tomorrow’s Achievements: Harry Forbes
A few words about Parry and the composers from founder and owner John Parry :
The Parry Music Library was founded in 1974 inToronto,Canada, by John Parry and Chris Stone. John had previously managed the Chappell library inEnglandbefore migrating and Chris had an existing library music consultancy company inToronto. This partnership also started a company representing and marketing other foreign music libraries acrossCanada. Through John’s many composer contacts inEngland, several contributed to the new library.
Robin Artus and Paul Kass were notable electronic writers. Johnny Hawksworth was a well-known double bass player, who played with the Ted Heath band in the 1940s and went on to compose and arrange countless compositions for big bands, small ensembles and electronic instrumentations. Canadian composers were drawn to Parry Music, in particular Harry Forbes who had a very successful career in composing electronic music for educational television – science and children’s shows in particular. He was also a good acoustic guitar player. Kerry Beaumont, an Englishman living in Toronto and later the USA, is a fine keyboard player and produced many recordings for the library, many in classical styles. He now resides in England as a church organist and choir master. Russ Walker, from Toronto, is renowned for his flute playing and acoustic guitar, having made numerous recordings of mainly folk music. He also runs a successful post production studio in Toronto. Other writers represented in this album have contributed many recordings to the Parry Music Library and continue to be active in the field.
As a celebration of our first year in business we proudly give to you the Deep Breakfast Mixtape; an exclusive 40-minute jam of brand new original-material direct from our San Francisco producer. Limited to 50 copies CDR on handstamped card sleeves.
Composed entirely of brand new, original material woven into a forty-two minute headtrip… here is his world… a place of degraded drone music, seared synth-modulations and throbbing techno plates. Switch on the Basic Channel and strap into the Surgeon’s chair, against the murk we drive, through digital storms and sludgy, compressed matter. Nodding to PAN-people, Tim Hecker, Modern Love, peering around blackest Vatican Shadow(s) burnt by orange, glaring West Coast Suns.
But this is much more than a sea of influences, this is Austin Cesear, his own unique sound, a mere taste of what’s to come, post-Cruise Forever, post Winter, into 2013.
Five brand new emissions for 2012 from Bristol’s premier electronicist Nick Edwards a.k.a Ekoplekz landing down in the wake of F.C. Judd and his Electronics Without Tears. Public Information present a 300 copies only run, no repress, in a gale of analogue-delay, the Dromilly Vale EP.
Whatever this man-machine puts out… it sells out. Two self released, micro-run EP’s, gone… a twelve for Punch Drunk Records to celebrate their anniversary… disappeared. A gargantuan double-cassette release (Memowrekz) on the venerable Mordant Music, soon left-these-shores, a triumphant first album on PD, gone… PercTrax 12” vanished…beware, this pattern.
Public Information are incredibly proud and excited to present the fully restored and mastered work of a previously unheralded lost-pioneer of British Electronic Music- F.C. Judd.
Public Information have spent the last 18 months in asscoiation with Fred’s widow Freda and artist Ian Helliwell compiling a collection of music from Fred’s tape and vinyl archive. The resulting work is called Electronic Without Tears, an hour long document in sound, rhythm, tone and experimentation from this remarkable man.
Vancouver’s Konrad Jandav’s, purveyor of Kosmische Trash, of noxious electronics, of deep and frazzled future-scapes… he is No UFO’s, from Canada with Love.
After landing the much coveted (XXJFG top release of 2010), Soft Coast EP on handsome C30 cassette, No UFO’s soon beamed onto Dub Ditch Picnic for another exercise in spangled concrete-collage and dreamy drone-fuzz, late 2010. Mind Controls The Flood is the first waxwork from Jandav’s…Public Information are very pleased to have him join our institution.
Seven compositions deep… a bleeding barrage of noise, melodics and colour… We sail from the opening bars… headlong into a hypnotic melting pot of tangled arps, vocal tracks bouncing perpetually off each other, shredding six-strings doing their feedback thing- a hazy, Motorik dream burnt by the 21C cross-Atlantic psych fever. Elsewhere, brand NEU! visions in propulsive guitar music’s, elegant Lynchian drifts through pastoral wastelands, freezing No-Wave cocktails mixed with hot MPC drum hits, suffocated dance groove-vignettes in awe to the far off Motor City. More…
A fractured masterwork …travelling to us, serpent-like under the oceanic tundra, Terminal City to Blighty and Beyond….
Aaron David Ross. Brooklyn Resident, multimedia artist, and one half of Giallo-crusaders Gatekeeper (Merok) is here as ADR for this first full-presentation from recorded music establishment- Public Information.
Solitary Pursuits: an 8 track mini LP, a burning head-trip into electronic swamplands packed with science-fiction sonics. This a record dredged from the heart of ADR’s NYC studio, buzzing analogue fissures erupting off each cut.
Track 1… “Codex” a deep Korg portrait in melancholia that’s soon subsumed by the slo-motion Drexciyan swoon of “Jupiter Rising” just around the corner, a beautiful half-lost notion of the Arabesque, distant echoes which haunt much of PUBINF001. In “Univox”, “Sands of Time”, “Solitary Pursuits” we have three heartbreaking miniatures, an alien-complexity in melody, tone and tuning, like Michel-Jarre, Vangelis, Schulze astray in darkest Istanbul, with nothing but a solitary synth under their frayed wings.
Then suddenly onto the B, a sun-burst splash of “Sidewinder” recalls a dusty Kleer LP getting sucked into some Dam-Funk-y cassette vacuum whilst the Library rush (think 70’s Parry, De Wolfe, Bruton) of “Mercury Retrograde” sizzles in noise.
Eight tracks of compelling synthronics, concise, strange Popular-Musik for a New-Age.