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Inspired by Guy Debord, the detournement of the 1990 album City: Works Of Fiction, assembled twenty-four years later by Hassell, from alternate takes, demos and studio jams, in the same spirit of hip-hop-inspired, dubwise future-funk.
First time on vinyl.
A September 1989 performance at the World Financial Center Winter Garden in New York City, with Brian Eno mixing live.
‘During this period Hassell was inspired by the increasingly innovative production techniques being used in hip-hop, in particular the hyper-collaged sampledelic barrage of the Bomb Squad’s work with Public Enemy, hearing it as a kind of extension of the tape splicing that Teo Macero brought to his work with Miles Davis. He began to incorporate more of this aesthetic into his own music, playing over loops of his own performances and riffing on angular juxtapositions of noise, rhythm and melody.’
First time on vinyl.
‘Just over half an hour of Luke Wyatt nattering — talking over, against, and to himself — interspersed with slyly deployed SFX, and quotes from his own musical recordings. A wild, uncannily cohesive, funny-sad excursion, issuing from a childhood memory, and somehow taking in the ’86 Mets, WIlliam Rehnquist, and Boy Scout regalia, amongst much else, in a hilarious, poignant affirmation of the spiritual prequisite of self-expression.’
New recordings invoking the grand traditions of Turkish psych with passionate recastings of tripped-out surf, Cambodian rock, Saharan guitar, electric Thai; even a little Sun City Girls post-punk.
‘Very lovely indeed,’ it says in Uncut. ‘For half an hour, fragile pop melodies are drenched in an enveloping haze of guitar fuzz, Liz Harris’ vocals shaped by a heavy reverb aura.’
‘Harris’ low moan is an exquisite performance, her fingers reaching around your heart to exert powerful emotional pressure,’ attests The Wire.
Horse Sacrifice was performed on Danish TV in 1970, as a protest against the Vietnam War.
It hinges on a haunting, fragile song entitled My Dead Horse, with Lene Adler Pedersen accompanied by Bjørn Nørgaard on piano, and HC on violin. This beautiful, sad lullaby is as simple, precious and unusual as anything in Christiansen’s output. Previously unreleased.
Henry Mancini’s fabulously evocative Latin-flavoured soundtrack to the classic Orson Welles film.
Melodic, fragile, enchanting music for the trippy Juliette Greco film, plus rare bits and bobs. ‘Layered, looped vocals, gossamer female voices, plucked strings, white noise wind, brooding treated piano.’