second compilation of sounds from around the globe > cata9 >
artists from audiogeographical places of uncommon perceptions >
please feel free to comment and send additional materials
>catalogueofwonders@ymail.com >
on sale on itunes, emusic, amazon and all the very good digital stores including catalogueofwonders.bandcamp.com
>catalogueofwonders@ymail.com >
on sale on itunes, emusic, amazon and all the very good digital stores including catalogueofwonders.bandcamp.com
> EEROHZ > is at the end of its tethers, dixit! non-musician ecletist or eccle? (sic) debutant or obtuse? sound or no sound as otto the otter would ask? other days will come. jellyfish for hair transmutes into sounds. 'the wave v.6' is the contribution to matéria prima.
> LABAROME > ruggero patrizi aka “labarome techno music industries” is an electronic music producer and dj from rome, italy. he started his musical activity playing guitar in a punk rock band when he was just thirteen years old and, some time later, he started studying jazz guitar and composition.
when he bought his first synth in 1987 (roland d20) he discovered electronic music and became keen on techno music. buying his first record players and records he started to play as a dj and live performer in the illegal rave scene of rome and in 1997 he released his first vinyl e,p. for the “latitant records” label.
in 1999 he established “surphase records” label with paolo schettini (aka qubit – abrugiato) and luca roberti. the ambitious target was to change the electronic scene of rome aiming to a bigger sound research. as “psychofunk” he realeases two idm-experimental compilations (electronic junction – surphase001) with artists like leo anibaldi, lory d, andrea benedetti, mat101 and others.
he took a eight years break from music in 2000 and re-started playing again in 2008 performing only live. today he is working for a four track ep on “stato elettrico netlabel” (just released, click the buttons!) and for a compilation on “stirpe999 antilabel”. he is part of matéria prima with the composition 'dubdrone'.
his main musical influences are aphex twin, autechre, squarepusher, uziq and cylob, with a courious look to everything that may surprise him >
> OORLAB > oorlab joined soundcloud in 2008 and contributed circa fourty-five tracks. his music can be both electronic or acoustic. most tracks start with a simple melody, serving as a linchpin between rhytm and chords. oorlab is a way to cooperate with other musicians and exchange ideas. a side project which sometimes seeps into his music are fieldrecordings of thunderstorms, birds, seashores etc. in the past years he tried out accounts and contributing recordings on bandcamp, last.fm, jamendo, garageband, myspace, freesound.org and archive.org but soundcloud has been the best forum - up till now. he is always open to new things. OORLAB has released "van het water" (2005, 3eilanden), "soundtracks for gametrailers" (2007), "van de horizon" (3eilanden 2008), "soundtracks for gardening" (2009), all full albums.
oorlab is from the netherlands and contributes to matéria prima with the composition 'b) g sharp auftakt (prelude in g sharp)' >
> SARDÓNICO > they say passion knew himyet today he lives hiding under dark glassessits in the shivering of the night recounts what’s left of the adolescent face blurred by the light nausea of old age he knows the solitude of those who are kept awakealmost always laying the side of sleep forecasting the soft age’s flight stands for the mirror that returns a smile the size of fear they say that in the transparency of the dream by the sea he grew old slowly without that any tenderness no joy neither singing skill convinced him to stay amongst the living (al berto) > 'study for a fugue no.1 ' is the contribution by sardónico to matéria prima, a portuguese composer that this time has the re-works of benjamin croaxford as a remix artist >
> DAS SOMBREROS are pedro wong and klaus patel. with a combination of intellectual wit, high camp and an ambivalent froideur, the fey patel and taciturn wong established themselves as one of the premier electronic pop duos of the 80s. the pair met as schoolboys at a railway station when patel enviously eyed the clutch of delta blues records under wong’s arm. they soon formed a band, taking their name from a cult book that documented the unspoken sexual proclivities of the american public.
in their late teens and early twenties, the lovable moptops earned their stripes in the bierkellers of hamburg with a gruelling regimen of performance, amphetamines and besotted teen fans. it was here that wong developed his trademark guitar sound by using a coin instead of the more traditional plectrum.
their erotically-charged pelvis-swivelling dance moves both thrilled and appalled the nation in equal measure.
initially guided by a shock-haired svengali who claimed the whole venture as a situationist prank and took much of the credit for the nation’s growing interest in the band, das sombreros released a series of self-titled albums, more commonly known simply as i, ii, iii and iv.
as ambitions grew, however, so did egos. the behaviour of both wong and patel became increasingly erratic. on wong’s insistence, a sandpit was built in their recording studio and patel was hospitalised after biting the head off a live bat onstage.
relationships within the band also became strained and started to fracture. the songs that comprise the last album of what is seen as the classic line-up document, in unflinching detail, the dissolution and creation of various romantic partnerships within the band. decamping to berlin, wong and patel changed direction dramatically with a trio of albums that married icy minimalism with an ill-judged flirtation with fascist imagery.
tragically, a jaded wong, disillusioned by the vagaries of the music business and the hollowness of celebrity, was gunned down outside his new york apartment by a crazed fan carrying a copy of ‘catcher in the rye’. tragically, after countless attempts by friends and industry insiders to reinvigorate his career, patel, bearded and bloated, was found dead in a bathtub in paris. some suspect his death to be a hoax.
> SYNOPSIS DECAY >
synopsis decay is the ambient and contemporary project of dutch musician marcello dirks. marcello has been making music solo for the most part of his life but has also been playing in –mainly gothic, bands in the late 1980’s and the first half of 1990. born and bred in rotterdam, marcello now lives in nijmegen.
after falling in love with the electric guitar and music in general at the age of ten, the tone was set for a life of discovery and wonder. later, in the early 1980’s and getting introduced to artists such as brian eno, harold budd, john hassle, steve reich, phillip glass, white noise, this heat, einstürzende neubauten, holger czuckay, tuxedomoon and the residents really opened up a whole new world and in them were the foundations for synopsis decay, the pavement was laid down to walk on.
being extremely shy and insecure in those days, marcello started buying recording equipment and instruments to compensate for the lack of band members and consequently, became a self taught multi-instrumentalist. the very first recordings (which have been lost for the most part) where basically synth-tributes to the residents and tuxedomoon and later evolved into an eclectic mix of all sorts if genres. every moment not recording, was spend experimenting with any instrument and piece of effects’ equipment he could lay his hands on. though most of those experiments, where done with synthesizers and guitar, marcello also used woodwinds, voice and percussion. especially on the early days of midi, it delivered some nice, unexpected results of which only three (live/rehearsal room) recordings survived. these recording – na1, na2 and na3, where the first made using a strict template and created from a clear concept and is what synopsis decay is all about.
where a project like the ‘songs for the deceased’ for instance, was born from the need to deal with the subject of loss, and had its particular timbre evolve from there ,the ‘memorized skies’ piece (five movements all together) was conceived through the combination of algorhytms and computer-generated notes (movements 1 & 2 are part of the catalogue of wonders’ first release ‘fables against gravity’ cata1). once these outlines where set, the process of human intervention began and the piece was written around those generated and pre-calculated notes using a strict setup of (virtual) instruments.
while working on the piece, an image of 1980’s rotterdam sprung to mind. it was an era of discovery and wonder, frequenting all sorts of exciting (mostly squatted) places like hal4, de bunker, exit and so on, to satisfy the thirst for new, unusual, undiscovered sounds and acts. tuxedomoon in particular became an act marcello followed almost religiously. therefore, this piece is a tribute both to the city of rotterdam in that period and tuxedomoon.
'a catalogue of wonders' is the contribution to matéria prima by synopsis decay >
> PIETER HURST died in 2007 leaving behind an unknown musical work displaced and abandoned in several european countries. serendipity allowed us to collect the majority of the music sheets and historical recordings and since 2008 the catalogue is curating and restoring them. ‘mirages’ 2 is one of the compositions now available everywhere and result of this effort. the catalogue of wonders released the albums ‘mirages’ and ‘piano mobile’ and another one will be available in the beginning of 2012.
> FVM AKA MOCHKA is brazilian weird music. when the latin swing meets the data error. the unpredictable crashes against what is not welcome. composing sounds, not music. building it, sound by sound, with a lot of care and even more detachment. cause the idea of composing sound, without a system, without rules, just composing it, is the best way for mochka to increase his brazility. making it the most of a stereotype. selling once more what the world expects from a brazilian. cause his music, in the deep end, it’s all about stealing. stealing references, technology, stealing ideas and consequences, taking it all from wherever it comes. and so it is this biography, stolen. saravá exu ogum.
> BIPOLARBEATS > is a vinyl junky that collects beats and ambiences in dance forms that goes from breakbeat to techno and back through experimental odd vibes to the most incredible titles of his compositions. he produces his tracks in the states that being bipolar permits and he absorbs all music possible. he started a very special project, bipolarbeats records which intends to release limited editions of seven inch singles. mister bipolarbeats seems to have made and releasing an entire album inadvertently... well, a compilation album, nevertheless a full length album, and in collaboration with other musicians and remixing artists from the divine catalogue of wonders: ‘the art of lithium...’ (cata11).
> AN-MEN lives and works in morocco, an englishman self exiled libertarian and lover of sophisms and hedonism. the north african refuge gave him the opportunity to explore his own interests and frustrations. from that resulted the album ‘gozyasi, a catalogue of mirrors’ and ‘aaradh’, both released by the catalogue of wonders in 2011. ‘satoh satoh’ is one of the new compositions from the second album to be released near the end of 2011 (runamorian, cata21)
> BÊDEUX is a duo of british men living in paris since childhood and producing mainly live theatre soundtracks for the theatre. they have released two albums with the catalogue of wonders, ‘untuned pieces (live) and ‘untuned pieces remixes’ (cata4 & cata6)
>
compilation curated and produced by benjamin silva-pereira at the naked lizard lounge, east twickenham, london
dedicated with immeasurable love and gratitude to all the artists and collaborators, ricardo v pereira, clara rodrigues dos santos, dulcineia silva, steven lee rees, maya edmundson & stephan o’goodson.
art direction: wassily blossfeldt for ars publica, london
photographs by benjamin silva-pereira
cata9
3661585772729
(p) (c) 2011 catalogue of wonders, london, the copyright in these sound recordings is owned by the composers, performers and artists under exclusive licence to catalogue of wonders, london.
TRACKLIST:
1 > THE PARADE
music, production & performance by james mccall
united states of america
2 > SATOH SATOH
music, production & performance by an-men
recorded at the naked lizard lounge by david sphere
morroco
3 > MUSTAFA’S LAMENT
music, & production by pedro wong & klaus patel
performed by das sombreros
great britain
4 > MIRAGES 2 (opus 13, 1885)
music composed & produced by pieter hurst
pianos: pieter hurst & marcella cozza
recording, live mixing & echo deck by david h. hillman
mastered & restored at the naked lizard lounge by gyorgi telemann in october 2009
germany
5 > ESTUDO PARA UMA FUGA (NR. 1)
music composed, recorded & performed by sardónico in espinho
samples, electronics, mixing & production by eerohz at the naked bunch, putney, 2011.
portugal
6 > DUBDROME
music, production & performance by labarome (ruggero patrizi techno music industries)
italy
7 > KIA KAHA TRACEY
music, mix, production, turntables & production by john dwyer for bipolarbeats records
performed by bipolarbeats
ireland
8 > REWORKED FOUND ORGASM (i hear the voice of jesus christ)
produced & performed by bêdeux
music by jonathan cotterell & karl wolf recorded at laboratoire de musique electronique, lyon, 2010
remixed by kalliban x (allegro noir & don pi)
france
9 > G SHARP AUFTAKT
music, production & performance by oorlab
netherlands
10 > A CATALOGUE OF WONDERS
music, production, remix & recording by marcello dirks
performed by synopsis decay
11 > JUST ANOTHER CHEESE LOVE SONG
music, production & performance by fvm aka moshka
brazil
12 > THE WAVE V6
music, production & performance by eerohz
remixed & mastered by david sphere >
‘real music, sound. the work that burroughs did with gyson, which wasn’t really known at the time they were doing it, was all about deconstructing language and form. the only way to arrive at some new way was to deconstructing or changing – by the cut-up method or by erasing the word, rub out the word – all that is incredibly valuable for the musician. (...) it makes you think and then not think. it is really to bypass the brain and get to the knowing of something by direct contact and not always taking the maze of the learning experience which is, for most part, systems based on other people’s discoveries which might have been random. collaborations – that’s the key.’ [bill laswell]
‘an archaeology of figures who have warped consensus reality. curating, retrieving, connecting fragile links between a graphic here, a text there, a sound, a lost soul, a smothered history, or a recorded moment which disabuses the notion that we are all on the same path. creating what burroughs and gyson called the third mind.’ [david toop]
AVANTI, MARINAIO!
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