SELECTED BY BOROKOV BOROKOV (08-04-22)

WAV’s ‘FROM OUR WAVE TO YOURS’ is a various and ever-expanding selection of favourite tracks, albums, labels, artists and more, put together by the WAV team, radio hosts & family. You can call them charts, or staff picks, but we like to refer to them as WAVES, connecting us to you and back. We love music, we want to share what we love, but we don’t assume that sharing should be at the expense of the artists. That’s why we link all our WAVE-lists to the bandcamp pages of the artists or labels.

Enjoy this month’s selection by WAV hosts Borokov Borokov who just released their new album ‘De Verkeerde Fout‘ via Rotkat Records.

This collection is a compilation of underground/independently-released cassette tapes from the days when the audio cassette was the standard method of music sharing… generally the mid-eighties through early-nineties. The material represented includes tape experimentation, industrial, avant-garde, indy, rock, diy, subvertainment and auto-hypnotic materials. Much of this material defies category, and has therefore not been given one.

The bulk of the tapes in this library were donated to the project by former CKLN FM radio host Myke Dyer in August of 2009. The original NOISE-ARCH site was hosted and maintained by Graham Stewart and Mark Lougheed.

Link here

This limited release comes complete with 88 pages of liner notes with full descriptions of the songs and stories from Peter’s career replete with tales for Holy Modal Rounders fans..

Manualism is the art of playing music by squeezing air through the hands. Because the sound produced has a distinctly flatulent tone, such music is usually presented as a form of musical comedy or parody. The musical performer is called a manualist, who may perform a cappella or with instrumental accompaniment.

Link here

”Hoofdpersoon” was recorded between July and October 2021 in Rivierenbuurt, Groningen by Elias Elgersma with the following instruments:
Yamaha QY700, Yamaha DX7, Yamaha RX15, Yamaha AN1X, Roland SH-32, Roland Juno-106, Behringer Model-D, Korg MS200, Hofner Bass, Melodica, Squier Stratocaster

Hoss is Lagwagon’s third album, released on November 21, 1995 by Fat Wreck Chords. It was produced by Ryan Greene.
This is the last Lagwagon album to feature drummer Derrick Plourde before his departure in 1996 (and subsequently his death in 2005) and guitarist Shaun Dewey before his departure in 1997. They would be replaced temporarily by Ken Stringfellow (The Posies) on guitar, and permanently by Dave Raun (RKL) on drums.The cover hosts a photo of Dan Blocker as his famous character Eric “Hoss” Cartwright from the Western television show Bonanza.

The album was also supported by a 1995 tour. Some footage of the tour can be seen in the music video for the song “Razor Burn”, a popular song from the album.

For outsider gospel visionary and Detroit native Otis G. Johnson, the Holy Ghost was in the machine…in this case a rhythm-equipped Hammond organ. Everything – God Is Love 78, a singular 1978 mid-fi document, features android percussion against chords of Otis’s own invention, possessed by minor tonality and frequent bum notes. Lifting it further are extemporaneous vocal homilies to the rapture, love, and everything, plus occasional “other” voicings that scratch at the periphery of the mix. Homespun gospel rarely entered this dirge-like, intuitive space, nor did it commonly achieve such a spectral and captivating hymn to its darkest conventions.

Uneven Paths: Deviant Pop From Europe, 1980-1991 is the second multiple artist compilation on Music From Memory and is compiled by record connoisseur Raphael Top-Secret and label man Jamie Tiller. The compilation brings together twenty one tracks from across the continent; exploring the more unusual and unexpected sides of Pop music produced during that period.

Drawing material from cult experimental artists such as Steve Beresford, Brenda Ray and Bill Nelson alongside one-off independent musical projects rescued from the fringes, ’Uneven Paths’ focuses on a selection of tracks that go beyond the confines of mainstream pop music but which also transcend expectations of much of the ’experimental’ music of the time. This is music with one foot in the avant-garde and another foot firmly rooted within the sensibilities of Pop; where Jazz musicians detour into Synth-Pop, Punk bands break into Boogie jams, and student doctors jam out on odd melodies with synthesizers and drum machines during their night shifts.

With Piano Works Debussy, the French pianist Claire Chevallier places the work of Claude Debussy in a new light: modern and enormously diverse. She exposes the great contrasts in Debussy’s piano textures, ranging from a very rich sound in his Estampes to the finesse of his Elégie. Chevallier thus pays tribute to Debussy as a rebel and challenger among the steady composers, dwelling on his different periods. With the warm, woody and harmonic sound of her Erard piano from 1920, the pianist brings the work of Claude Debussy back to life in an inimitable way.

The CD was released on the occasion of the performance Piano Works Debussy by the dance company Voetvolk. It is a duet between dancer Lisbeth Gruwez and pianist Claire Chevallier. Together, they seek the space between the notes in the compositions of Debussy.

Piano Works Debussy is a co-production by Voetvolk and Claire Chevallier. It is the third album that Voetvolk releases on Rotkat Records. Earlier, they released Original Music from The Sea Within (2018) and Bring It to Our Senses (2017).

Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form.
Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own Cascata di Malbacco tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw.
On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time.
Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences.
John Carroll Kirby has recently released music on Leaving Records, Outside Insight and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces and Solange.

He recently signed to Stones Throw Records.

DJ ESP aka Woody McBride is a techno pioneer and influence to thousands of people worldwide. One of the founding fathers of acid and midwest techno, Woody has composed hundreds of seminal techno anthems. As the man behind Communique records and former promotional group Mile High, Woody is known the world over for legendary parties, mental mans techno, and unmatched sound systems. With releases on Blueline, Primevil, Bush, Communiqué, Synewave, Kobayashi, Holzplatten & Missle.

Link here

In 1985 a wondrous album titled Hemp Is Here was created by the obscure English duo Leven Signs, composed of Pete Karkut and Maggie Turner. Since then, Hemp Is Here has proven to be a visionary recording that holds a special place in the ongoing expansion of experimental music. Through the method of tape collage, an unclassifiable recording was created that consisted of post-punk and avant-pop sounds, tribal rhythms and dub and folklore elements. The result was an unpretentious yet sonically sophisticated endeavour that subconsciously evoked the twentieth-century avant-gardist and minimalist music traditions. While maintaining a distinctly original sound, their output still contributed to local explorations and remained somewhat in line with other genre-dissolving bands from eighties England like Rimarimba, This Heat, Woo, 23 Skidoo or Eric Random and The Bedlamites.