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Electronic/Dance - To be released October 25, 2019 | FPE Records

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Funk - Released July 19, 2019 | FPE Records

Funk - Released April 23, 2019 | FPE Records

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Alternative & Indie - Released March 22, 2019 | FPE Records

Cycle of Restoration captures an hour-long live improvisational recording from Detroit's venerable Trinosophes venue by boundary-less drummer William Hooker, upright bassist/electronicist Joel Peterson, and trumpeter/electronicist Mark Kirschenmann. For the purpose of this release, the performance is divided into eight titled sections. The intro, "Unpolished Diamonds," commences with a long, slow simmer that explores both atmosphere and space, marking out discovered terrains with tonal and textural exploration. Other than his gloriously disciplined cymbal washes, Hooker's drums aren't initially heard all that much. The foreground is claimed by Kirschenmann's horn and layered, staggered, electronic treatments for the first 17 minutes. Peterson plays arco not so much as an accompanist, but as a texturalist who underscores the sparse harmonic inquiries made by the horn player with depth and dimension. In the second section, "Voluntary Realization," Hooker's shimmering cymbals and muted kick drum add presence and balance yet speak economically. Kirschenmann's horn takes on a Jon Hassell-esque electronic patina that arrives in shards and melodic waves. Peterson adds rhythm and harmony -- albeit abstractly -- as "Bridge" gets underway, playing pizzicato and arco. Hooker gets more strident, using force even when playing single notes, and eventually becomes more active as Peterson explores the contrabass' middle register with his bow. About five minutes in, washes of electronic sound join the bassist in playing a hypnotic, repetitive phrase, while Hooker's cymbals begin to sing with punctuation from his snare, hi-hat, and floor toms. The tension is at once nearly unbearable and sublime as musicality gradually asserts itself. The blurry, digitally treated, pastoral trumpet phrases become songlike near the section's end, widening the musicality. Rolling tom-toms and gorgeously harmonic -- if slightly dissonant -- bass introduce "Magnets" before the intensity ratchets up with Peterson's single, circular bowed phrase and electronics meeting Hooker's pointed accents, foreboding fills, and occasional crashing exclamations. The trio reaches fluid motion by the time they enter "Panchromatics I," a funky, abstract, post-Agharta Miles-influenced groover filled with waves of distortion, vamps, and continually shifting and time-stretching drum work from Hooker, all of which leads into a soaring, abstract dissonance on "Panchromatics II." "Ethnic Variations" is madly dissonant and exploratory as all three players listen and improvise simultaneously; there's a groove, kind of, but more than that there are explosions of tone, color, and texture that are resolved in "Astral Debris," a powerful, emotive, resonant section where Kirschenmann deploys his trumpet in growls, bleats, smatters, and smears as Peterson works through a divergent canvas of powerful sonics and Hooker furiously attenuates his sounds to guide the flow of energy until the work explodes -- then dissembles into silence. While only repeated listening to Cycle of Restoration will allow the listener to grasp all that this performance has to offer, it's worth the effort because they'll eventually get caught up in the emotion, creativity, and grace this trio display. ~ Thom Jurek
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Electronic/Dance - Released March 15, 2019 | FPE Records

Haitian turntablist/producer Val Jeanty (aka Val-Inc) met Indian drummer and electronic musician Ravish Momin at an artist workshop in Brooklyn in 2017, and the two soon began collaborating as Turning Jewels Into Water. Continuing in the direction set by 2018 EP Which Way Is Home?, TJIW's first full-length is filled with improvisation-based creations that draw from the duo's combined ancestries by electronic instrumentation and samples. They construct broken rhythms using MIDI controllers and drum triggers, and ghostly voices are transmitted via turntable scratches. The choppy rhythms and unpredictable progressions make evident the spontaneity of the duo's creative process; everything sounds live and unprogrammed, and it all moves in a dream-like state. The album's title track mixes tribal drums with Delia Derbyshire-esque electronic tones, while "Desert Fire" is a sort of beguiling Afro-dub. The duo keep their ear to global dance music innovations, dedicating one track to Lisbon-based visionary Nídia and handing others over to producers such as Kenya's Slikback and Mexico City's Nueve Vidas. While informed by styles like footwork and kuduro, TJIW never try to directly emulate them, instead forging their own cross-cultural path which envisions a more positive, unified world. ~ Paul Simpson
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Experimental - Released February 20, 2019 | FPE Records

Electronic/Dance - Released January 21, 2019 | FPE Records

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Jazz - Released August 20, 2018 | FPE Records

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Recorded live at Brooklyn's National Sawdust as part of John Zorn's Stone Commissioning Series, Maroon Cloud is an eight-part chamber suite that develops and expands on the visionary concepts Nicole Mitchell explored on 2008's Xenogenesis Suite and 2017's Mandorla Awakening II: Emerging Worlds. It integrates core philosophical, psychological, and musical tenets as gateways to introduce new elemental concepts sonically, lyrically, and compositionally. Her trio of trusted collaborators includes cellist Tomeka Reid, Cuban pianist Aruan Ortiz, and vocalist Fay Victor. Mitchell's flutes assume a dual role: as a second human voice that reacts to and underscores the character and lyrical content in Victor's singing, and as a bridge of translation for the other players. Mitchell reacts to, predicts, and illustrates the expressions of her collaborators via composition and canny improvisation. This recording attempts to illustrate that "...Imagination is our greatest human resource and lately we seem to be running low. Yet, imagination is how we co-create our future...." Mitchell's compositions provide musical settings that rely on an uninterrupted flow of space in order to communicate. She allows each musical expression and nuance the freedom to explore. Opener "Warm Dark Realness" commences with Reid's cello and Ortiz's piano engaging in scalar interplay before Mitchell's flute bridges their two poles. Victor's vocal emerges from the center; it inhabits words as shades of meaning to be stretched and reflected on, as the other players react to their own interpretations of them. The effect is otherworldly. That result is echoed and heightened by "Otherness," "Endurance," and "Hidden Choice" -- all seem to emerge from the ether to create light bodies via strategized composed frameworks that reveal directions for individual improvised ideas. In "Vodou Spacetime Kettle," an homage to Bessie Smith, Mitchell and her companions utilize blues to reveal the ground of this space-time continuum. Victor is at her most soulfully expressive, quoting from Smith's songs in a gospel- and barrelhouse-inflected improv interplay with Mitchell's gritty flute, Reid's plucked, bass-like cello, and Ortiz's angular chord voicings. Post-bop, blues, and groove undergird "Nothing Can Stop Us" as Reid and Mitchell vamp on a jazz-blues motif in the extended intro before getting downright funky introducing Victor, who moans the title phrase like a mantra. Ortiz adds arpeggios and fat mid- and lower-register chords. This is an outward (as in communicable) expression of internalized preconceptions and emotions as they engage possibility for the purpose of transformation. That punchy flute introduces the driving Nina Simone-esque romp in "A Sound" as Victor digs into the entire maelstrom of musical motion: Ortiz plays a mutant blues modalism on the keys, and Reid pulses through the changes with rhythmic authority. Closer "Constellation Symphony" seamlessly marries musical ideas from the preceding music with intense, urgent soloing from all three instrumentalists before a spoken word interlude takes it out. On Maroon Cloud, Mitchell points to new horizons for Afro-futurism and human psychology. Hers is an integral sonic conceptualization that communicates even as it illustrates limitless potential for the mind and heart to re-create the world. ~ Thom Jurek

Jazz - Released August 20, 2018 | FPE Records

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Electronic/Dance - Released June 8, 2018 | FPE Records

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Alternative & Indie - Released September 8, 2017 | FPE Records

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Alternative & Indie - Released July 14, 2017 | FPE Records

Alternative & Indie - Released July 15, 2015 | FPE Records

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Alternative & Indie - Released April 15, 2014 | FPE Records

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