Down The Vine Vol. 8: Konk Pack / Matmos / Leprechaun Catering, Loud Objects & more!

The True Vine
3544 Hickory Ave.
Baltimore, MD

Telephone: 410 235 4500

TUES. – SAT. 12 – 9 ( except Wed. 12 – 8 )
SUN. & MON. 12 – 6

march 26th 2010

the true vine & aural states presents KONK PACK, MATMOS & LEPRECHAUN CATERING at the 5th dimension (see the flyer image below for the adress). for those of you who have never heard konk pack: tim hodgkinson (of henry cow, the work & many others), roger turner (amazing british drummer/percussionist who’s worked with hundreds of other fantastic musicians over the past few decades) & thomas lehn (on my top 5 favorite synthesizer player list {funny enough two others on this list are in the 2 other bands this night[tom boram & martin schmidt]}). matmos will be in quadraphonic sound & leprechaun catering will be in disorienting-double-stereo sound. the admission will be a $5 to $10 sliding donation. doors open at 8 pm.

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Konk Pack Excerpt

we are now selling electronic instruments made by ‘loud objects’ at $22 each. they are small circuit boards with big on/off switches & two small red buttons that change the sounds that come out from a stereo 8th inch output. they come with different names & different programming. click here to hear some sounds from one the variations entitled ‘friends’:

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Loud Objects’ “Friends” Noise Toy

new records incoming & new records already here:

eddie detroit: immortal gods LP

“CD reissue of the first (of two) self released albums put out by Eddy Detroit (his third album would come out many years later on Majora, Jungle Captive, in 1997. Very exotic cult folk and primitive rock album, led by the irrepressible vocal presence of Eddy. “A reissue of more material from the early 80′s Phoenix underground music scene, contemporary with Paris 1942; this time none other than the first LP by Eddy Detroit… this was self released in 1982 and has been pretty impossible to find for quite a few years. Featuring an all star lineup including Mary and Dan Clark (Victory Acres), Charlie Gocher and Alan Bishop (Sun City Girls), James Verlaine (aka J. Akkari from Paris 1942) and others, this has turned out to be one of my favorite records documenting a scene I pissed away a whole lot of my just barely post adolescence loitering in and around.” — Nick Schultz.”

v/a: pomegranates CD

“It’s no accident that the phoenix is an exalted moral, mythical, and figurative symbol in Iran. Like the phoenix, Iranian culture is in constant flux and, at times, elusive, with its existential wavering and blurred panoramas. Most of contemporary Iran’s artistic and creative leanings, its grapples with history and identity, are loosely and mystically conjoined and contested in memory. Iran is marked by the complex interplay of diverse constituencies, philosophies, and influences: ethnic, religious, political, geopolitical and historical. The glorification of pre-Islamic antiquity (in search of authentication) marked the socio-cultural attitude of a bygone era and is witnessing revival in the present day. The discordant reality of eastern traditions complicated by the rampant confusions of modernity has become a norm in Persian dialogue, not to mention revolution, exile, and diaspora. Like many other countries, the sixties and seventies were a time of tumult in Iran, bringing growth (via petrodollars) and freedom (under the banner of socioeconomic development) while exacerbating inequalities within the country. The music and voices that blossomed during those decades exemplify the turbulence and excitement of the age. It is worth recognizing these ‘left out’ and ‘lost’ artists individually and as a group in the global happenings of ’60s/’70s psych, rock and folk, while exploring their influence and relevance to the present day. Is it possible that there is a genus of delectable sounds and fetching images that almost exclusively reside in the elbowroom of memory and nostalgic ‘yesteryear’ storytelling? Little consideration has been given to the correlation of these sounds and stories within the universal psychedelic phenomena: parallel to the shared stylistics of British and American players, and the radical politicking of their Turkish and Korean counterparts. This collection endeavors to re-contextualize these songs from the realm of reminiscence, nostalgia, and memory into a specific and accessible narrative to share and relate within the universal musical gamut. It is for aficionados, the curious, and collectors alike. We hope that Iranians around the world will rediscover these songs. This collection is, in some sense, dedicated to a generation in self-imposed mental exile, due to years of war and catastrophe; decades of lies and bombs; a fundamentalist theocracy of reformist shams; addiction; isolation and alienation; unemployment, and inflation. These are voices and stories that may again prove relevant to a psychologically damaged and spiritually corrupt society, a society whose discontents recall the latter years of the Shah’s rule. The recordings excavated here are highly sexual musings, voluble love songs, and simple folk tunes.”

pausal: lapses CD

“Lapses by Pausal is the first proper ambient release to come from Barge Recordings. These twelve gorgeous works of composed drone were crafted primarily from guitar, piano, violin, old classical vinyl and field recordings, all processed and played through various effects. Each song is like a specific place, highly personal, in which we’re invited to visit and wander through. This is the core of their music, as you’ll hear in tracks such as ‘One Watery Lens’ or ‘With Seashell’ — where we can disappear in the essence of these recordings. Over time, organic yet precise details of the pieces emerge, revealing themselves more and more each listen. A certain attribute to the strength of Lapses is the slow dissolving of time itself. Pausal’s compositions achieve the perfect balance of minimalism and drone to do just this. Another is their influence from classical music. Although a deliberate creative process through the application of found vinyl recordings, the sampling is quite functional, giving the pieces harmonic momentum and a unity to the full listen. This gift of retaining a certain musical framework and allowing the repetition of drone to run its natural course is something Pausal has perfected — both as a recorded and live act.”

V/A: travelling tith my portable electric phonograph volume 1 LP

“What did South Africa and South East Asia of the 1940s and 50s have in common? In both places the local population was trying to gain independence from British colonialism. Although colonialism is never a good thing, there are always some positive outcomes when two cultures collide, especially when it comes to music. The Zulu of South Africa are the largest ethnic group in the country and are well known for their rich musical traditions. In the 1940s, however, Zulu musicians began fusing traditional Zulu choral music (often sung by migrant mine workers), like Mbube and Isicathamiya, with the instruments and rhythms of Western jazz. A continent away in India, we see that the same kind of musical revolution was taking place during this same period. Calcutta in particular became a musical hotbed beginning in WWII, when it became one of the major ports for the South East Asian Theatre of the War. The jazz scene was mainly centered on the house bands from the various luxury hotels and British social clubs, with these bands often recording for the South East Asian division of E.M.I. Interestingly, one of the hottest stars on this scene during the 1940s was Teddy Weatherford, an African American ‘expat’ from the Chicago jazz scene. Beginning in 1942, following the Japanese invasion of Burma (Myanmar), hundreds of thousands of refugees poured into India, among these great jazz musicians like Reuben Solomon (of Iraqi Jewish descent) of ‘The Rangoon Gymkhana Club’ fame. Batuk Nandy, on the other hand, was a well-known steel guitar player who rose to fame by making ‘filmi’ music for Bollywood films, while Bismillah Khan was an Indian shehnai (a traditional flute-like instrument) master, and one of only three classical musicians to have ever won the Bharat Ratna prize, the highest civilian prize in India. Khan was also one of the few musicians to perform at Delhi’s Red Fort in 1947 for India’s Independence celebrations. Despite the obvious negative outcomes, different cultures and religions forced together in the face of economic and political adversity has historically been a recipe for great music, and as this album testifies, India and South Africa were no different.”

V/A: message from the tribe CD & LP

Subtitled: An Anthology Of Tribe Records: 1972-1976. “Soul Jazz are re-issuing their long-out of print (10 years!) seminal CD and mini-book anthology of Tribe, the Detroit jazz and funk collective recently reformed by Carl Craig. CD and book comes in unique box edition. Tribe in Detroit in the early 1970s was born out of the ashes of a fallen city. After Motown, the boom of the car industry and the advances of civil rights in the 1960s, came a decade of governmental abandonment, high unemployment and inner-city violence and urban decay. Tribe (Phil Ranelin, Wendell Harrison, Harold McKinney, Marcus Belgrave) was a collective brought together to fight these negative forces. In the seven years it existed in Detroit, Tribe produced seminal deep jazz and funk albums, published Tribe magazine (featuring local community, music and arts issues) and ran numerous education workshops. Tribe have reformed in 2010, brought back together by producer genius Carl Craig with a new album and tour. This project follows on from Carl Craig’s earlier Innerzone Orchestra and Detroit Experiment projects. Tribe is also heavily featured in Soul Jazz Records’ Freedom, Rhythm and Sound book of revolutionary jazz. Soul Jazz Records are now re-issuing this Tribe anthology CD and mini-book (a 60-page exact reproduction of pages from the Tribe magazine from the early 1970s). This album features the best of the seminal music produced by this legendary Detroit collective.”

madlib: madlib medicine show no. 3 : beat konductica in africa CD

“Madlib follows Flight To Brazil, with the third installment of the Medicine Show series and the fourth installment in his Beat Konducta series: Beat Konducta In Africa. Beat Konducta In Africa contains over forty instrumental hip hop tracks produced and mixed by Madlib. This epic ‘beat tape’ springs from obscure vinyl gems culled from the Afro-beat, funk, psych, garage-rock, prog-rock and soul movements of countries as diverse as Zambia, Nigeria, Ethiopia, Ghana, Botswana and the Ivory Coast. The Madlib Medicine Show series is a combination of Madlib’s new hip hop productions, remixes, beat tapes, and jazz, as well as mixtapes of funk, soul, Brazilian, psych, jazz and other undefined forms of music from the Beat Konducta’s 4-ton stack of vinyl.”

bharat karki: international music LP

LP version. 1978 private production from Calcutta, India in a first time ever reissue. From beginning to end, this is a flood of weird Indian psychedelic funk, showering us with heavy percussion grooves in a borrowed “international music” style featuring elements of rock, as well as Latin and Arabic music, melded with chanted Hindu mantra. Electric guitar and bass, a bunch of Indian percussion, flutes, screams, organs and (maybe) Moog! An explosion of Indian youth music. Musicians: Bharat Karki, Utpal Dey, Provat Das, Biswanath Chandra, Bimal Biswas, Kany Roy, Chandan Roy Chowdhury, Benu Chatterjee, Badal Sarkar, Hillol Mandal, and Khoka. Vocals: Palash Mukherjee, Panchashil Dutta, Subhankar Sengupta, Miss. Sunanda Ghose Roy, and Miss. Mridula Bhattacharya.

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