Bis Aufs Messer Weekly News - March 01 / 2021

Bis Aufs Messer Weekly News - March 01 / 2021

hi. Welcome to the first newsletter of March Also lots of stuff is on its way like the PHIL ELVERUM BOOK (finally), HUM DLP restock, MOUNT EERIE restocks and much much more … 

 A couple new releases arrived like the ANGEL BAT DAWID & THA BROTHAHOOD - live DLP, IAN WILLIAM CRAIG & DANIEL LENTZ - Frkwys Vol. 16: In A Word LP, THE OUTSIDERS - Calling On Youth LP, THE GORDONS - s/t & Future Shock LP + 7“, Hexis 6“, new Plankton Wat, a bunch of restocks of Cat Power, Dinosaur Jr etc as well. The new WIRE MAGAZINE arrived finally (thank you Brexit), also SOLID SPACE LP restock and FLAMING TUNES LP restock arrived

 We also received the OSTSEETRAUM - s/t LP and shipped all pre orders … already running low on Fletcher Tucker on clear and the Ghost Bag LP on yellow.

Thank you for your support in those difficult times

 Norman & Robert







HEXIS - Exstirpo / Exsorbeo 6“ (It is quite unbelievable what HEXIS (Denmark/Italy) have achieved in their career so far. Singer and bandleader Filip Andersen founded the band in Denmark in 2010. Within the last 10 years HEXIS then toured numerous times across the globe and stopped by at places like the United States, Canada, Japan, Cuba, Iceland, Russia, China, Australia, nearly every part of Europe and countless other countries. There are barely any places left, where they have not been on their overall 800+ shows!!! 2020 should have continued like 2019 ended for the band, but this year everything is a bit different and so they couldnt play any shows (so far).  This year marks their 10 years anniversary and the band wants to celebrate it with a two-song 6" vinyl record and later this year with a full discography on a Double CD. After two full albums and over ten EP / Split releases, it is their first time on a 6" format. With the songs Exstirpo and Exorbeo the band follows their distinctive blend of black metal that is influenced by doom-ish sounds and the furiousness of hardcore-punk without only adapting the stereotypes of the mentioned genres. The songs appear to be both, ferociously and in a way menacing when singer Filip unleashes his harsh vocals within the adamant and brute sound walls that the other musicians build up. 

) 9.00





MIAMI DEATH 2 - erfahrung macht krank 7“ (diy - Limited to 300, black vinyl, screenprinted Obi-Strip, risoprinted cover - 2nd release by the power violence monster from Leipzig. Killer fast songs in the vein of Infest, Scholastic death etc ... in your face. Great) 7.00






75 DOLLAR BILL - I Was Real DLP (DLX-US-Press -  Thin wrist - back in stock - 75 DOLLAR BILL is one of the essential groups at the heart of NYC's underground. Driven by the telepathic union of CHE CHEN's microtonal electric guitar and RICK BROWN's odd metered percussion their long-form sound is unmistakable and compelling. On their third album I Was Real, the group expands in bold new directions, embracing brilliant fuller orchestrations, joyous rockers and entrancing new textures. The album is 75 Dollar Bill's third, featuring new directions accompanying the band's previously established interest in sprawling, unusual grooves and microtonal melodies. The record is enhanced by the presence of eight additional players in various combinations over its nine tracks—but also shows off the duo's strength when stripped down to the core. Requiring a variety of approaches, the album was recorded over a four-year period, in four different studios, with the band's closest associates and collaborators in a range of different ensemble configurations. The album also features several "studio as instrument" constructions that harken back to the collage-experiments of the band's early cassette tapes, while at the same time pointing to territories altogether new. Double-LP version presented in a heavy tip-on gatefold jacket with textured clothe wrap and matte foil stamping.) 45.00


ANGEL BAT DAWID & THA BROTHAHOOD - live DLP (international anthem - Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!“) 32.00


CORECASS - Void LP (marbled vinyl) (golden antenna - CORECASS is the solo brainchild and creative outlet of distinguished Hamburg based musician and composer Elinor Lüdde. Since its inception in 2014, CORECASS has been able to look beyond the conventional approach and fuse together instruments such as harp, accordion, electrical guitar and her natural voice, combined alongside field recordings, foleys and digital or synthesized instruments in order to create something truly unique and expressive. The result is an innovative and cinematic style of music – an elegiacally dark and atmospheric conglomerate made of cliché busting conceptions between electronic and non-electronic sounds and sources. With several well received releases and film scores already under her belt, CORECASS has once again found a new way to explore and challenge both herself and the listener by evoking a wealth of feelings through her anomalous musical expressions. In her newest offering, VOID, she uses her multi-instrumental talents to interpret and repurpose the world around her into an ethereal mix of sounds that encapsulates a full spectrum of emotions. With the creation of VOID, CORECASS has discovered fresh ways to convey a myriad of states through a series of movements and interludes. The most driving component in this composition is a church organ, which provides an especially unique characteristic due to its distinctive tonal qualities. ) 19.00


EMILY A. SPRAGUE - Hill, Flower, Fog LP (rvng - Emily A Sprague's deeply rooted insight and clear-eyed foresight is harbored once again in the newly carved space of Hill, Flower, Fog. "Hill, Flower, Fog is a place and a poem," says Emily, "a personal letter and vision for myself, outlining priorities that I aspire to incorporate during my time on earth: family, sustainability, patience, and growth." Seeking language and dream between the stasis and shift of this year's blur, Emily found nourishment in transformed daily practices, a process of retrieving the important things from the fog of past routines. Channeling deeply into the here and now fostered a far-reaching connectedness, a lifeline from the everyday to the cosmic. If Water Memory / Mount Vision, Emily's first forays into formless music, read as earth-bound passages, HFF scatters more ineffable references across its pages. The maximal stretch of the universe, and germanely, its minimal density, are explored through compositions that search and embrace the infinitude and human condition mirrored, fragmented, and felt in both. On HFF, Emily invites meditation on perception and sensation in a six part spectra. "Moon View" and "Star Gazing" are cosmic commitments to look up, while "Horizon" and "Mirror" describe abstract views relating to the position of self and its projection outwards. "Woven" and "Rain" represent more textural and tactile impressions, elemental immersions in our earth's perfectly imperfect patterns. Each piece varies subtly, yet remains soundly familial.) 27.00


DOUG CARN / ADRIAN YOUNGE / ALI SHAHEED MUHAMMAD - jazz is dead 005 DLP (jazz is dead - Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right n) 36.00


EYELET - The Devil Shining Out Your Eyes LP (i corrupt - Baltimore's eyelet is back with second Full Length "The Devil Shining Out Your Eyes". We see eyelet's sound expand into huge places while staying themselves with the LP boasting big memorable parts that might remind someone of Isis' Oceanic as well as some huge moments from the timeless MARE self-titled LP that still lives with each of us. (Think Tone and Riff Heft / Impression). A beast of a record to drop on unsuspecting public on the last day of the shittiest year any of us have known.) 18.00


THE GORDONS - s/t & Future Shock LP + 7“ (1972 - The Gordons crashed upon the do-it-yourself scene of early 1980s Christchurch with torrential force, self-releasing two foundational planks of the vibrant New Zealand underground. Future Shock, a three-song 7-inch released in 1980, is a wild-eyed rampage, as staggering as any feedback-addled punk then being recorded at Southern Studios. The Gordons LP, which followed in 1981, matches the abandon with motorik churn and livewire dissonance, evoking New Zealand antecedents as divergent as This Kind Of Punishment and the Dead C. Brought together on this release, they’re a noise-rock landmark anticipating fans such as Sonic Youth. Flying Nun Records, the storied Christchurch label and symbol of the island nation’s rich independent music scene, re-released The Gordons and Future Shock together in 1988 following the formation of Gordons outgrowth Bailter Space, which frontman Alister Parker founded with Clean drummer Hamish Kilgour. Bailter Space, which would also come to include founding Gordons members Brent McLachlan and John Halvorsen, settled on a droning shoegaze sound, drawing comparisons to Dinosaur Jr. and the Pixies. The Gordons and Future Shock, however, represent the trio’s unreformed id, as startling today as upon release.) 25.00


IAN WILLIAM CRAIG & DANIEL LENTZ - Frkwys Vol. 16: In A Word LP (rvng - In a Word, the sixteenth installment of the intergenerational collaboration series FRKWYS, brings together postminimalist composer Daniel Lentz with vocalist and sound artist Ian William Craig for an album that embraces erosion and the fertility of the loam left behind. A document of shared transformation, Lentz's elegant piano figures and Craig's trembling tenor are wilted, warbled, and looped through manipulated tape machines in a real time composition that evokes a strange warmth and layered beauty.) 25.00


PLANES OF SATORI - s/t LP (wcty - Planes Of Satori included members from bands like Sweet Chariot, Golden Void, Futuropaco and Once and Future Band. Inspired by that golden era of late 1960s and early 1970s Krautrock luminaries, Oakland, California quartet Planes Of Satori was largely informed by the rhythmic repetitions and mechanical mantras of what was happening in Germany during the late) 14.00


ONE DYING WISH - Origami LP (i corrupt - WHO DOESN’T LOVE ITALIAN POST-HARDCORE, SCREAMO and/or food?!?! One Dying Wish is a four-piece from Torino and “Origami” is their second output ever since the group’s inception in 2017. Origami is rich with beautiful and powerful melodies which interact perfectly with the singer’s half-spoken/half-screamed vocals (oh, and the Italian language, which is so perfect for this kind of music!!!). If you dig the “older” stuff from bands like Raein or La Quiete, then this could be your thing. But if you prefer the newer stuff from Ojne, Regarde or Storm{O}, then this could be your thing as well. Jackpot!) 13.00


PLANKTON WAT - Future Times LP (red vinyl) (thrill jockey - The music of Portland musician Dewey Mahood exists in constant communion with nature. From acclaimed albums with heavy-psych mainstays Eternal Tapestry to his prolific solo excursions, Mahood’s work has always been defined by his restless exploratory spirit and reverence for the environment. As Plankton Wat, his expressionist compositions exude a supernatural grace and patience, reflecting the resplendent beauty and mythical energy of the West Coast’s wild places. Piece blossoms from low-lit, porchside ambience into powerful head-trips, ushering the listener through ravines of feedback and along warm currents of synthesizer drift to peaks of lysergic bliss. Mahood’s masterful and distinct guitarwork consistently blurs the confines of the instrument, at once texturally and melodically rich. Future Times elevates Mahood’s psychedelic instrumentals to new planes. Written to the backdrop of social unrest and climate change fueled fires, Mahood lays out a sprawling cinematic and psychedelic survey of a planet in crisis that weaves a path of hope through the darkness.) 23.00


SWEET CHARIOT - Lean Into The Breeze LP (wcyt - Sweet Chariot is a San Francisco and Oakland based band with members who prefer old gear and cold beer. Their timeless rock ‘n’ roll is a blend of pickled pub rock and greasy biker boogie trimmed in the smoky tones of West Coast canyon-twang. Lean Into The Breeze is the band’s second album, but it’s their first for Who Can You Trust? Records. These songs were tracked and mixed on a vintage Tascam 388 analog eight track by producer and recording artist Walker Phillips. Though the band’s eponymous debut flirted with ‘70s inspired California country rock, this album finds the foursome dialing down the Gram Parsons and turning up Graham Parker. Lean Into The Breeze is still rooted in rustic tones, but the songwriting comes from a more modern take on British pub rock, jangly guitar pop and hard throttled boogie jams. Influenced by such bygone bands as Creedence Clearwater Revival, The Grease Band, The Byrds and Big Star, Sweet Chariot also found themselves inspired by Teenage Fanclub, GospelbeacH, Shannon And The Clams, Endless Boogie, and Chris Robinson, who along with Isaiah Mitchell, jumped up onstage with the band last year. Sweet Chariot has also shared stages with NRBQ, Mother Hips, The Flamin’ Groovies, New Riders Of The Purple Sage, Jesse Dayton, Beachwood Sparks, Allah-Las and the late, great Pegi Young. ) 15.00


THE OUTSIDERS - Calling On Youth LP (1972 - Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom. The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.) 25.00


VERY PARANOIA - s/t LP (wcyt - Very Paranoia formed in 2018 with the express intent of delivering short, sharp shocks of electrified rock and roll that simultaneously heralded both a "war on music" and offered a way forward using the scattered shards left behind on the sticky, rickety fields of battle and trapped in the structurally unsound masonry memory of those walls still standing around us. Composed of veterans of the sonic conflicts from the Annihilation Time/Lecherous Gaze/Hot Lunch/Assemble Head in Sunburst Sound divisions, the four of them huddled together in their San Francisco rehearsal room where they quickly hammered out an arsenal of crude missives designed to fire as roaring missiles into the heart of 2019. ) 16.00


WAU WAU COLLECTIF - Yaral Sa Doom LP (sahel - Avant-garde cosmic sounds from Senegal, “Yaral Sa Doom” is a groundbreaking album spanning borders and musical scenes. Inspired from West African tradition, Sufi praise songs, spiritual jazz, and dub rhythms, the effect is a genre defying entry in outernational sound. Hypnotic percussion loops across sweeping pads, call and response chants echoes layer over electronic beats, and children’s voices sing out to recordings of crashing waves. In 2018, Swedish music archeologist and leftfield musician Karl Jonas Winqvist traveled to Toubab Dialaw, Senegal, a small fishing village turned hub of Senegal’s bohemian art scene. Over the next weeks, local musicians, percussionists, poets, and beat makers came together, sketching out ideas and recording free improvisation. Winqvist returned to Sweden, trading recordings back and forth over WhatsApp with Senegal based collaborator and studio engineer Arouna Kane. “Yaral Sa Doom” is a Wolof phrase that means “educate the young.” Central to the album is this theme of education, with songs that directly address social issues facing contemporary Senegal, education, and immigration. "Today you must educate children with an instrument and art, when you teach them an instrument you teach them to use their spirit," says Djiby ) 25.00





THE WIRE - Issue 445 MARCH 2021 MAG (Inside this issue: Maggie Nicols: The veteran experimental vocalist discusses the trail she has blazed from 1960s jazz clubs through Spontaneous Music Ensemble and Feminist Improvising Group to her brand new debut solo album. By Louise Gray James Spaulding: Over a nearly 70 year career with 100-odd album credits from Sun Ra to Bobby Hutcherson, the reedist has maintained his faith in the power of collective improvisation. By Howard Mandel, OSEES: With his label Castle Face releasing the ever shifting music of his primary project along with his collaborators and even archival recordings of The Fall, John Dwyer places himself at the centre of a psychedelic hurricane. By Dave Segal, Invisible Jukebox: Femi × Made Kuti: The flame-keepers of Afrobeat test each other with a mystery record selection, Authentically Plastic: The Ugandan DJ/producer majors in polyrhythmic dislocation. By Gloria Kiconco, Holland Andrews: Phoning it in with the US vocalist/composer. By George Grella, J Fisher: The Los Angeles polymath introduces his selves. By Joseph Stannard, Marcin Pietruszewski: Micro-sieving dataflows. By Emily Bick, Unlimited Editions: enmossed, Unofficial Channels: Foxy Digitalis, Global Ear: Our regular column continues to report on music in the time of pandemic. This month: the effect of Brexit and Covid-19 on gig and tour organisations, The Inner Sleeve: Raven Chacon on New Red Order’s Never Settle and more) 8.00