
Label Description: Welcome to the difficult second album, a collection of songs inspired by life and the outdoors!

Label Description:
This is a particularly slow performance. I’d gone into it somewhat sleep-deprived, though by the third and fourth pieces, I was getting energy back from the music, enough energy to leave more space and allow the rests to speak. Thank you to the audience for staying with me.
The hollowbody Univox vibrates quite a lot–there’s a lot of air in there. Consequently, there’s a lot of air in these timbres: French horn, muted trumpet, accordion, glass harmonica timbres. This one’s a step toward a collaboration with silence.
The titles this week are references to the visual art of Louise Blyton. Thank you for listening!
Maurice Rickard: Guitar, programming
Signal chain: Univox Coily in Bb F Bb F Bb C tuning > Reuss Effects Understate, Reuss Effects Repeater Fuzz, Balls Effects KWB > Vox Wah > Hungry Robot Wardenclyffe Deluxe > Moyo Volume > Max/MSP eight-delay patch with FFT pitch shift, tremolo, convolution reverb, AudioThing Reels.
Impulses: Inchindown Oil Tanks ( Matt Gray mattg.co.uk ), silent5 Biamp MR/140 (Flat), St. Paul’s Huddersfield (near), Fort Worden Cistern

Label Description:
It is made manifest only to those who travel through foul and fair, who pass beyond the summit of every holy ascent, who leave behind them every divine light, every voice, every word from heaven, and who plunge into the darkness where . . . there dwells what is beyond all things.
The instruments involved in the making of this one:
Trumpet
Clarinet
Telecaster
Morphagene
Microfreak
Landscape stereo field
Make Noise Wogglebug
Assorted percussion

Label Description:
Vocals and Guitar: Laura Rintoul
Synth and Engineering : Isobel McKenna
Songs 1,3,5 written by Laura
Songs 2,4 written by Laura and Isobel
Recorded on 4 track and digitised by Isobel and Laura
Mixed and Mastered by Robert Dallas Gray
Photography taken by Isobel at an abandoned house near Kuusamo Lentoasema summer 2012
Vivarium Sounds 17

Label Description:
Universal Affirmation Ensemble’s first release “Unconditional Propositions” is a melodic exploration of rhythm, combining repetitive and pattern-based endurance drumming with influences ranging from Do Make Say Think, 1980’s King Crimson, and Balinese Gamelan. Originally created as a vehicle for expanding and elaborating on drum patterns taught to principal member and Vancouver, Canada-based drummer Justin Devries by composer I Wayan Sinti, the project expanded to include interlocking dual guitar work, intricate three-part flute melodies, and idiosyncratic asymmetrical motifs on the drums. Subtle low frequency electronic interventions and field recordings captured on a remote northern island are scattered throughout the album, punctuating the ensemble-driven pieces with atmospheric and low-fidelity interludes.
Devries has played drums for and/or toured with Loving, Ora Cogan, Jo Passed, and many others around Vancouver, and drew on a cast of talented musicians from across Canada to realize this debut, including bowed guitarist C. Diab, flautist Anh Phung, and guitarist Cole Schmidt. The album is dedicated to the three percussionists, musicians, and composers who deeply influenced the album: I Wayan Sinti, I Made Subandi, and Jerry Fuchs.
Justin Devries – Drums, Guitar, Bass Guitar, Flutes (2, 8)
Anh Phung – Flute and Alto Flute (1, 3, 5, 7)
Caton Diab – Flute (4)
Cole Schmidt – Guitar (1)
Sheena Fayowksi – Electronics (4)
David Parry – Tambourine (2)
Griz – Vocals (8)
Composed and arranged by Justin Devries
Engineered and mixed by Jonathan Paul Stewart
Mastered by Harris Newman
Recorded at Risque Disque
Dedicated to I Wayan Sinti, I Made Subandi, and Jerry Fuchs

Label Description:

Label Description: Under the Golden Brown moniker, Stefan Beck has carved out a comfortable niche for himself over the past several years. The Colorado-based guitarist’s discography is packed with expert acoustic fingerpicking, warm melodies, gentle lap steel reveries and twinkling electronics. It’s music that provides the listener with a welcome escape, a dreamy sonic landscape to wander amidst. And if Beck stayed planted in this particular landscape, blowing smoke rings in the Shire on a sunny afternoon, that’d be just fine.
But Whisker Fatigue suggests that there are further corners of the Golden Brown-iverse left to explore — much darker corners. From the very first moments of “Beelzebufo,” it’s clear that Beck is guiding us through swampier territory, something akin to the slo-mo elegy of Miles Davis’ “He Loved Him Madly” or the low-sun western hauntology of Earth’s The Bees Made Honey In The Lion’s Skull.
Stretching out to almost 15 minutes, “Beezelbufo” (named for a fearsome, thankfully extinct amphibian from the late Cretaceous also known as “the devil frog,”) oozes with a strange, primordial dread. A busted thrift store organ and spectral percussion all contribute to an ever-deepening chthonic wooziness, with the silvery strands of Beck’s electric guitar serving as the only lifelines to keep us from disappearing completely into the mire.
The album’s other epic, “Boom Boom Pachyderm” feels similarly heavy, ghostly harmonics and funereal keyboard accents from Prairiewolf’s Jeremy Erwin floating over restless seas, uneasy rhythms. This is music that feels closely in tune with the modern malaise, when the way forward is unclear, when storm clouds seem to be constantly gathering on the horizon.
Fear not, Whisker Fatigue isn’t fully doom-stricken. Throughout there are glimmers of light — like the playful dubby textures of the title track, or the steady momentum of “Cross Pollination,” or the mystical guitar work that drives “Ancestral Slime.” Beck doesn’t want to abandon us to a desolate fate in the Swamps of Sadness; this is just one more beautiful chapter in the Golden Brown saga. Go ahead and sink into it