quindirecords

[quindirecords]

jota solo - nessuno

[QUI012 - neko20]

ltd clear lathe cut made at Burbi Dubs. hand numbered edition

basics recorded at home 11/22 to 2/23. additional instruments and vocals recorded by T. Sasao at Junges Wien, 03+04/23 written and performed by Jota Kaza Lax: cello Ev3 ov Destruktion: add. guitars

mixed by Jota & T. Sasao mastered by Martino Marini

artwork by Frl. Tost cover design by Jota co-released with nekofutschata.

The infamous Signore Jota, known or unknown for his monolithic lifework alongside Frl. Tost as Novy Svet and essential contributions to Mushroom’s Patience, Unitad Sasao, The Tiny Men, Severin Bestombes, Indra 1996, Gnostic Gnomes and a myriad of other musical lifeforms now all stardust – this elusive, serpentine Magi of the post-post-industrial underground is shedding his skin once more on Nessuno, a record of confrontational and permeative isolationist bliss. As with every re-configuration in his artistic vita, Jota drops a few scrambled jigsaw pieces in front of our eyes that remind us of everything and nothing at the same time. Kicking off with a sampled quotation from John Lennon’s “Watching the wheels” (“people say I’m crazy, doing what I’m doing…”), Nessuno transports us into a ritual space right behind Jota’s mind’s eye. And there’s lots of stuff going on here for the forty minutes to follow: the cavernous, residual pulse and hum of abandoned temples, trembling and staggering synth chords that seem to be plucked by invisible hands like will-o’-the-wisps across a nocturnal scene, fragments of acoustic guitar strings that appear more like a reminder of a song that once might have been than an actual instrumentation, the feel of open cables and cold energy, stabs of radio hiss on its ongoing, futile quest for an indefinite frequency. There is a whole world of puro rumore / puro amore being hinted at when Jota’s smoky signature croon strikes through the damaged, hobbling trip hop of Canzone della vita, an early highlight of the record, a few minutes into Side A. Other times, his words, all sung in Italian, bounce on and off the interior walls of the songs like the voice of a speaker who has long since left the room. There is the downward spiraling febrile delirium of Freddo uno and the unholy incantation of self-indictment on 6 || 6. When the fog and hiss of personal history and inner conflict has dissipated on the noise-addled ballad SacrifiZio Vittime, Jota halts to take a startling and rapt look at the inscription of scars torn open once more. For a short glimpse we’re tempted to believe that Jota has gone a skin too far this time, and now he sits naked to the core amidst the beautiful rubble of life. But nah… think twice! There will always be a plethora of mirrors lurking in every corner of the room, re-modeling the artistic persona of Jota Solo into a labyrinth that ramifies deeper than a Borges-ian nightmare. Enter the starlit odyssey dopo mezzanotte that is Il Mare, a melancholic instrumental piece, to touch at the darkly glistening ground of Nessuno’s journey. We can sense the dangerously haunting melodies of sirens shot through with windswept noises, but in the midst of it all there is also peace and contentment here. And then again, closing track Giorni due breaks off midway a demented braindance, waving goodbye in contorted poses whilst the credits roll on, leaving us nonplussed once more to where all of this has just sprung from and where it is heading now. If you’re asking yourself for references, Novi Svets more electronic adventures like Todas las ultimas cosas (2008) and Mono (2015) might pop up as first-choice. In the rare case that you’re novice to the whole microcosm, think Richard D. James having a field day with the ghost of Franco Battiato. Or maybe don’t, if that’s too outré. Either way, Jota’s new record is testament to the fact that he is still way ahead of the game, or more precisely, laying down the rules of a game all his own. However, it’s not this technical aspect, innovation of the hand, but innovation of the soul that lingers with us when the last grooves run out. Like it did so often before. Part of our future, part of our past.

Margot Benetti, Totensonntag 2023

#strange pop #dark music #horror pop #isolasionist #Youtube

[quindirecords]

Fortunato Durutti Marinetti - Eight Waves In Search Of An Ocean

[QUI010 - SAB104]

Co-released with Soft Abuse

#poetic jazz rock #art folk #singer songwriter #synth pop #Bandcamp #art pop #soft rock

[quindirecords]

Track of the day // Fortunato Durutti Marinetti - Clerk Of Oblivion

[quindirecords]

American Cream Band - Royal Tears

from the album Presents, released in September 2023 via Quindi Records

#punk funk #group sounds #krautrock #garage rock #jazz rock #minneapolis #mutant disco #quindirecords #Youtube

[quindirecords]

[QUI009] American Cream Band - Presents

#music #punk funk #mutant disco #group sounds #krautrock #garage rock #minneapolis #jazz rock #Bandcamp

[quindirecords]

*CV & JAB* Saturday 20.05 c/o GADA via De' Macci 11 Florence @ooh_sounds in collaboration with @nubprojectspace , @quindirecords and @affektenlehre brings to Florence the live act of composers @christinavantzou and @johnalsobennett performing as CV & JAB. All in the evocative spaces of a former small church in the centre of Florence> @gada_playhouse

[quindirecords]

Monde UFO - Vandalized Statue To Be Replaced With Shrine

[QUI008]

https://mondeufo.bandcamp.com/album/vandalized-statue-to-be-replaced-with-shrine

#mondeufo

[quindirecords]

Bondo - Print Selections 

[QUI007]

https://bondo.bandcamp.com/album/print-selections

[quindirecords]

Ellis Swan - 3am [QUI006]

[quindirecords]

Woo - Paradise In Pimlico [QUI005]

[quindirecords]

Cabaret du Ciel & Barbara - Like A Fool / Inside Loneliness [QUI004.5]

[quindirecords]

Cabaret du Ciel - Raintears [QUI004]

[quindirecords]

Kansuke Yamamoto

1930's

[quindirecords]

Katrien Orlans

2022

[quindirecords]

Lawrence Weiner

[quindirecords]

Dead Bandit ‘From The Basement’ Quindi Records [QUI003], Black Vinyl 12″

Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo’s astral ruminations via Cabaret Du Ciel’s sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label’s previous releases, ​From The Basement r​eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes. Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album ​I’ll Be Around​, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl’s artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There’s a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan’s voice falls silent. It’s no surprise to learn Swan and Schimpl’s reference points include Neil Young’s Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine. You can sense Jim Jarmusch’s America just lingering behind the road-weary thrum of ‘These Clouds’ and detect the shadow of Tom Waits lurking in the raunchy lurch of ‘FF M’. The pointedly titled ‘Sedated’ calls to mind the slowcore movement and its rejection of rock n’ roll’s fixation on speed. Instead, tonality and atmosphere are key across ​From The Basement​, although the ambient lull of ‘I See Her There’ is the exception rather than the rule. Dead Bandit’s desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track ‘Mud’ to the bold and borderline bombastic ‘When I Looked Around’. Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture. * * * * *

All tracks, written, recorded, mixed and performed by James Schimpl and Ellis Swan. Also appearing: Adam Smith (Drums on "Untitled" and "Valentine"; 1st Drum Loop on "These Clouds"; Percussion/Harmonica on "I See Her There") and Steven Skolka (2nd Bass on "I See Her There").

Artwork & Graphics by Visnja Susak. Photographs by Ellis Swan.

Mastered by MA Spaventi. Manufactured at R.A.N.D. Muzik.

Dead Bandit's special thanks: Eva, Rowan, Hazel, Rachael, Jason, Diane, Andrea, Katherine and Jolene.

Quindi's special thanks to Ellis Swan and James Schimpl, Paul H Williams aka Memphis for discovering Dead Bandit and LEDX for their support.

Unconditional love for Ivana and Milla Vittoria

p + c Quindi Records 2021

[quindirecords]

Video by Opificio Ciclope

Artist: Dead Bandit

Track: Sedated

Album: From The Basement

Label: Quindi Records

#music video #folklovermore #psych folk #blues #slowcore #dead bandit #quindi #quindirecords