THE END – ALLT ÄR INTET

Nov.26, 2020

our 2nd record keeps getting excellent feedback!!1st edition vinyls are already sold out…..

check this out:

https://www.freejazzblog.org/2020/11/the-end-allt-ar-intet-rarenoise-records.html

 

 


the REAL DEAL AUCTION

Nov.15, 2020

Here is the Discaholic Action Nr 2  catalogue – THE REAL DEAL
rare records and related items!!!!
bid deadline: DEC 15th 2020.
bid with confidence and have fun!!
download it here:
Discaholicsannons_English

 


AUCTION

Nov.14, 2020

second warning!!!

 

tomorrow it is here.  NOV 15th – it is all starting!!! deadline Dec 15.

 

THE REAL DEAL – – discaholic ACTION.

Discaholicsannons_English


THE END RELEASE TODAY!

Nov.13, 2020

Allt Är Intet 1

 

TODAY – RELEASE OF OUR 2nd studio album: ALLT ÄR INTET

on rare noise records;

https://www.rarenoiserecords.com/releases/allt-ar-intet/

cover by Edward Jarvis.

check our new video out:

 

and check this link out:

https://www.rarenoiserecords.com/2020/11/12/it-hurts-me-too/

 

 

peace & fire — / The End

 


BAND CAMP SOLO DONATION

Nov.06, 2020

CHECK THIS OUT  – and SUPPORT!!!
mats-solo-CAA19
 Friday, November 6th, Catalytic Sound releases CAA-019, Mats Gustafsson’s “Padova Solo.”  Originally sent Catalytic Sound subscribers, Mats’ solo recording will now be made available to the public as part of our weekly fundraising program to generate donations to support the Movement for Black Lives and social justice.

All funds from the sales of “Padova Solo” will be donated to the Chicago Women’s Health Center (www.chicagowomenshealthcenter.org) an organization that Mats has suggested.  The CWHC “facilitates the empowerment of women, trans people, and young people by providing access to health care and health education in a respectful environment where people pay what they can afford.  Each year, over 6,000 women, trans people, and young people access health services through CWHC, which provides care and services that people in Chicago need, but often cannot find anywhere else. Since we opened our doors in 1975, CWHC’s programs have been shaped by our clients’ and students’ needs for accessible, comprehensive health care and health education.”

Through the weekly release of these digital albums, Catalytic Sound artists have currently raised a total of $2330 in donations for One DC (www.onedconline.org), Black Girls Code (www.blackgirlscode.com), BYP100 (https://www.byp100.org/about), Black Lives Matter DC (https://www.blacklivesmatterdmv.org), the Fendika Cultural Center (https://fendika.org), PEN America (https://pen.org), the Jazz Coalition (https://www.jazzcoalition.org), the Bail Project (https://bailproject.org), the National Alliance Against Racist & Political Repression (https://naarpr.org), Desis Rising Up and Moving (www.drumnyc.org), Black Lives Matter (blacklivesmatter.com), the Ruth Ellis Center (www.ruthelliscenter.org), Assata’s Daughters (https://www.assatasdaughters.org), the Detroit Black Community Food Security Network (www.dbcfsn.org), Circles & Ciphers (www.circlesandciphers.org), and Dreams for Kids (dreamsforkids.org) so far.

Many thanks to the musicians who are participating in this fundraising program, and to everyone who has been able to donate and support this and other platforms that work in support and solidarity with the Movement for Black Lives and social justice.
Link: https://gustafsson1.bandcamp.com/album/padova-solo-caa-019


THE END NEW ALBUM!!!!!

Nov.03, 2020

Allt Är Intet 1

 

2nd album by THE END!!!!!!

RELEASE NOV 13th 2020!!!!!!!

https://www.rarenoiserecords.com/releases/allt-ar-intet/

 

listen to the 1st track here:

 

THIS IS IT!!!!

 

more news later!!!


DISCAHOLIC AUCTION

Oct.20, 2020

warning nr 1:

Discaholicsannons_English


a RARE SOLO CONCERT!

Oct.07, 2020

friday oct 9th, 2020!

a rare 2 set – solo concert at Club Manufaktur, Schorndorf, Germany.

hitting the road with the car full of saxes… from sopranino to bass saxophone…

and LOADS of vinyl, cds and casettes… many rare, limited editions and more – FOR SALE after the concert

Do not miss this unique event!

https://www.club-manufaktur.de/programm/mats-gustafsson-solo-jazz/

 

matsgustafsson


RE ISSUE SHE KNOW on Hat Hut

Sep.28, 2020

at last…. in print again:

20200713_dce41d

 

THE THING WITH JOE MCPHEE

SHE KNOWS

legendary 2nd release by the thing on the Crazy Wisdom label!

 

just released by Hat Hut records on their ezz thetics serie of free jazz

https://www.hathut.com/

 

remastered by Peter Pfister.

 

 

the first review – in DUSTED:

 

One third Swedish, Two thirds Norwegian, The Thing added a fourth part Poughkeepsian in the formidable form of Joe McPhee for its sophomore album, She Knows… in 2001. The trio’s chosen sobriquet sourced from a Don Cherry composition of the same name, a second choice since their first, Trans Love Airways, was already spoken for by another Swedish group with no love lost. The disc was the sixth release on a label run by saxophonist Mats Gustafsson, he the Swedish contingent, and two colleagues. It swiftly attracted accolades as a provocative composite of free jazz lucidity with punk rock-inspired energy before abruptly falling out of print.

Eighteen-years on (damn, has it been that long?!?!) enters Swiss producer Werner X. Uehlinger’s Ezz-thetics imprint, an enterprise expressly designed to reissue classics of the free jazz idiom. Combine that good fortune with a fresh remaster by in-house audio engineering savant, Peter Pfister, and an old new classic gets a new lease on circulation and appreciation. McPhee’s presence on the project isn’t just in guest capacity, he’s a full-fledged honorary member. His signature “Old Eyes” caps the program and his sensibilities align in fervent fraternal fashion with Gustafsson, bassist Ingebrigt Håker Flaten and drummer Paal Nilssen-Love.

The album begins with, of all things, a P.J. Harvey cover and a rasp-saturated invocation from McPhee’s pocket trumpet (another nod to the band’s namesake). Gustafsson honks simple counterpoint as bass and drums lock and release in a loping dirge-like groove. “The Thing” is concentrated, vamp-actuated freebop, and Håker Flaten’s elastic improvisation is the first instance where a significant Pfister-facilitated boost is audible in the offing. Deep crate selections by James Blood Ulmer (“Baby Talk”), Ornette Coleman (“Kathelin Gray”) and perhaps most rewardingly Frank Lowe (“For Real”) follow with the players digging ardently and assiduously into each opportunity.

On the Ulmer piece, Håker Flaten plugs in for a flanging effect that coupled to Nilssen-Love’s cascading beats takes on dub-like malleability McPhee, again on pocket trumpet, and Gustafsson on tenor saxophone fire off crenelated Aylerian salvos in tandem and independently that ride the oleaginous waves. The traditional spiritual “Going Home” contrasts, starting from space of simmering arco bass laced reflection and gaining grandeur through McPhee’s sanctified tenor sermon. Gustafsson enters and two trade improvisations in an exchange that can’t help but feel truncated given the glorious amount of pathos and power brought to bear. It’s beyond good to have this one back.

Derek Taylor


OUT TODAY!!!!!

Sep.25, 2020

the new CUTS album!!!!!!

Cuts Open 1

recorded at GOK studios in tokyo 2018.

 

https://www.rarenoiserecords.com/releases/cuts-open/

 

a very different beast!!!!

 

On the all-too-rare occasions when Japanese noise legend Masami Akita (aka Merzbow), Swedish saxophone aggressor Mats Gustafsson and blistering Hungarian drummer Balázs Pándi converge, listeners know to brace themselves for a brain-rattling sonic assault. Each of these men alone had long been established as among the most ferocious of artists long before they came together to record their savage 2013 debut, Cuts; the onslaught was only intensified with the addition of Sonic Youth founder Thurston Moore for a pair of overpowering follow-ups.

The anticipation of such musical violence is what makes this most recent outing, Cuts Open so entrancingly unsettling. Reconvened as a trio once again, Gustafsson, Pándi and Akita found themselves exploring far more spacious and airy soundscapes than is typical for their explosive meetings. The results are no less sanguinary for being unusually quiet (relatively speaking, of course; this trio’s “serene” is the equivalent of most musicians’ wildest extremes).

Instead, the use of agitated percussion and hair-raising breathiness makes for a decidedly ominous atmosphere. When the occasional bursts of brutality arrive – and they do arrive, in all their eviscerating glory – they’re almost cathartic in their relief from the teeth-gnashing tension of the album’s more subdued moments, where menace hangs in the air like a thinly veiled threat.

Of course, the unexpected lies at the very heart of the music that these three make together, which seems to be less improvised in the traditional sense than summoned from some primal beyond. Asked to describe the kinds of sounds he prefers to explore with his bandmates, Akita offers the single word, “Spontaneous.” But the direction that Cuts Open took, nearly a decade into the trio’s collective existence, took even the artists themselves by surprise.