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Artist: ANGLES 9
Title: Equaity & Death/Pacemaker
Format: 7"
Label: Omlott
Country: Sweden
Price: $8.00
"The two songs on the single is a raw extract from a much larger recording session (with a later release date) made in May 2016 in Sickla, Stockholm by Anton Sundell. Anton Sundell is also responsible for the very literal cassette approach we can hear here; very sharp, loud and punchy and with a lot of wit thrown into the vortex of this mad mix! With members from all over the place; from Fire trio, Atomic, Subtropic Arkestra, Je Suis, Team Hegdal, Oddjobb, Per Texas Johansson 4tett, All Included....Angles 9 make a music that really stands out. For what it is worth. Limited to 200 copys. Comes in handmade covers in diferrent colourvariations." - Omlott.

Artist: BRÖTZMANN, PETER & PEETER UUSKYLA
Title: Dead and Useless
Format: LP
Label: Omlott
Country: Sweden
Price: $23.00
Edition of 500. Recorded at Bohus Sound Recording Kungälv, Sweden on September 9, 2006. Previously released as part of the "Born Broke" CD on Atavistic. Brötzmann and Uusklya have collaborated since the mid-late 90s.
“Uuskylas other notable collaborations have been with free jazz legends Cecil Taylor and Bengt Fredrik Nordström. While he can go toe-to-toe with Brötzmann, he is a colourist here, not a pugilist. The music is a conversation, a colloquy between discriminating artists. Opening with subdued horn and sticks on cymbal, the pair sift through a sound that simmers, yet rarely boils. Uuskyla persuades the saxophonist without provoking him. As with truly great drummers, he can do more with a downsized kit, say more with a flick of the wrist and a hesitant tom-tom roll than other busy players.” - Mark Corroto, All About Jazz.

Artist: BRÖTZMANN, PETER & PEETER UUSKYLA
Title: Red Cloud on Silver
Format: Double LP
Label: Omlott
Country: Sweden
Price: $30.00
Edition of 300. Recorded live at Nefertiti, Gothenburg, Sweden, February 6, 2014. Brötzmann and Uusklya have collaborated since the mid-late 90s.

Artist: BROTZMANN, PETER & PEETER UUSKYLA
Title: A Crack to Beauty
Format: LP
Label: Omlott
Country: Sweden
Price: $22.00
"Peter Brötzmann and Swedish drummer Peeter Uuskyla, a veteran of saxophonist Bengt Nordströms groups, first recorded together in 1999 with bassist Peter Friis Nielsen, and have since met numerous times in trio and duo settings. Previous to A Crack to Beauty was a 2LP set: Red Cloud on Silver, on the young Swedish label Omlott, which has also released Uuskylas solo music as well as reissuing part of their previous duo disc, Born Broke, as a single LP titled Dead and Useless. Uuskyla is an incredibly limber drummer, economical and swinging in constant funky inversions that ratchet the saxophonist towards a jittery stratosphere. Thats not to say that Uuskyla cant embrace the calm, metallic ache that pervades Brötzmanns music, matching bitter pathos with brushy piles and accented silence. On the second movement of the title piece, unaccompanied tenor – the theme for Fred Hopkins that Brötzmann often references – appears midway through, before Uuskyla answers with darting rollicks. Its a plaintive respite amid sheer, rolling, grooving sound. Brötzmanns largesse is given a thick, expertly carved pathway here, and though hes found numerous long-term drummer partners over the decades, each bringing something different to the whole, this particular pairing is one that I find extremely rewarding."- Clifford Allen.

Artist: BROTZMANN, PETER/UUSKYLA, PEETER
Title: Holy Drinker
Format: 7"
Label: Omlott
Country: Sweden
Price: $13.00
"Limited to 150 handmade covers. Contains two tracks from the LP "A Crack To Beauty" - Omlott.

Artist: ENHET FOR FRI MUSIK
Title: Det finns ett hjärta som för dig
Format: LP
Label: Omlott
Country: Sweden
Price: $25.00
Limited to 300. Heavy full color gatefold cover. "Discovering the Förlag För Fri Musik label and the associated acts has to me been one of the major highlights of the last few years. Ive been lucky enough to have taken part in events and acquaintances some people could only dream of, but for me it has always been about the music. Yeah, I got to know Albert Ayler in the autumn of 66 when we shared a cab in Stockholm. I somehow lured myself into the crew around International Harvester and their early stage, not really socializing much but would still found myself half asleep on the floor while Sov Gott Rose-Marie was being recorded. Was it the same week I somehow ended up in charge of the café at the Zodiak Free Arts Lab in Berlin? Possibly. It’s all in my biography. On my many travels Ive been floored, spoiled and overwhelmed. Lester Bangs owes me $27 and an excuse. During my stint in the UK, I was at the first The Jesus & Mary Chain show and a few years later drank myself through an dark period of schmucks staring at their ugly shoes while awkwardly playing their guitars through endless chains of effect units. My life has been good and rich of fantastic encounters. Some terrible ones too. Towards the late 90s my life-long passion kind of ended. Not because I was getting older really. No, I rather blame the lack of interesting sounds. The lack of interesting artists. My passion drained, I stopped going to shows, I stopped buying records. I remained friends with plenty of people but a whole era of my life just seemed to be over. I emerged myself into literature and cinema for the following 15 years, and my listening habits were mainly focused on private pressed 80s heavy metal from USA during this period.

Fast forward to early 2015. My oldest daughter knocks on the door to my home office and throws a copy of the Enhet För Fri Musik cassette Inom Dig, Inom Mig in my lap. Listen to this, will you. Right up your alley, blah blah. The usual exaggerations in another tiresome attempt to wind up the old man. A fucking cassette, how cute. This one however... Wow! Mind blown. That something. Memories of a lifetime flashing by. A feeling of something else, finally. I poured down the last drops of my Scotch, took my bicycle down to Music Lovers, the store where my daughter supposedly had obtained this particular little gem, just to found out more about this band. Which I didnt, but thats another story. I mustve listened to the cassette about 20 times a day for at least a month. It was like seeing photos of Les Rallizes Denudes for the first time, but the photos being music instead. It was like seeing Träd, Gräs & Stenar at Gärdet in 1970, but this time not having sex with my girlfriends’ brother behind the scene. It was like my first exposure to Jandek (never been a fan, but you know what I mean). Trying to figure out more gave me the same feeling as sending well-concealed francs for some LLN cassettes to a friggin castle in southern France, just hoping for the best. Or receiving the very first jiffy with via-USA Japan-imported noise cassettes from Ron Lessard. Just as if no time had passed at all, I shortly found myself fully immersed in a musical universe again, this time the Gothenburg underground. It turned out that the cassette was only the beginning and that the two following LPs, one released by themselves and one on an Italian label, were not only much better but both minor masterpieces in their own right. So yeah, I just did what I had to do and soon enough could address myself a "writer" again and even being paid for that.

I managed to hustle down an unmastered advance tape of the upcoming Det Finns Ett Hjärta Som För Dig album from the band after a few weeks of weird negotiating which could be described as walking into a wall headfirst over and over. From my many years as a music writer Im used to the other way around, bands and labels basically begging you to accept their promotion copies and lame-ass one sheets. But Enhet För Fri Musik, it was like they knew they had something big on their hands even though they obviously didnt realize it themselves. Every question was received with suspicion. Like, what do you want? Really, what do you want? The mentioned advance tape had a life itself it seemed, like a jinxed holy grail it mysteriously disappeared from my bag the same night I received it to early the next morning be found by my neighbour outside my door. I had the pleasure to meet the whole band (thats Hugo Randulv, Sofie Herner, Gustaf Dicksson, Dan Johansson and Matthias Andersson) a couple of weeks ago. In all honesty I cant really decide if it really was a pleasure, but an interesting gathering no matter what. Prepared with 20 questions, my ambition was to get a piece done for a Norweigan publication, a text focusing entirely on this new album and the peculiar aura around the whole collective. They choose the time and place, a bar some 30 minutes from the city centre which the taxi driver had a hard time locating at all. I arrived in a timely fashion but no one there of course except for a lady in her 70s firmly placed in front of a Jack Vegas machine. After 20 minutes all of them emerged from the kitchen behind the bar, all heavily into a discussion about some Christmas album. I spent about 5 hours with the band, but managed to get 0 answers to my well thought-out questions. Nothing to use at all, actually (if you don’t count the answer to my #14, Q: “Does a great combined record collection help when making an album together?”, A: “Yes.”). Nice people and all, but Hugos constant yapping about the best Sarah Records compilations and the similar rants on whatever-band-you-never-heard-of from New Zeeland from Matthias got a bit tedious after a while. Every attempt to steer the conversation at least somewhere near the masterpiece that is Det Finns Ett Hjärta Som För Dig resulted in more beers plus jokes and references I didnt get. What I did get, however, and that’s solely from letting this album become an integral part of my life and not so much from my few conversations with the band members, is that this is one of the most wonderful albums I’ve ever heard from Sweden. People will try hard to figure this one out in the future. A comment on a welfare system collapsing? Just a glimpse into the creators’ childhood memories of rainy summers cut-jumping back and forth to scenes of cases of 3.5% beer smashed on the concrete behind the Sibylla, neverending confirmation camps, virginities forever lost and trimmed mopeds disappearing in the morning fog? The letting go’s and the joys and the sorrows of it all. Who knows with these cats, what I have on my now much treasured tape is not necessarily even what will be on the actual album. For whatever its worth, I’m thankful for my brief encounter with this band and my only wish right now is that they one day will perform live." - Efraim F. Ponteus, May 1st 2017.

Artist: HOGBERG ATTACK, ANNA
Title: s/t
Format: LP
Label: Omlott
Country: Sweden
Price: $23.00
"Attacking the now. The instant. The music. Attacking your image of what. Is. Music. Attacking the past. The history. What is now. Attack is all. Dont hold back. Ever. Curiousness and initiative is all. And attack. The attack mode. 6 Swedes attacking it all with a front of 3 sax players not holding back. Attacking the mystery of it all. 6 defined personalities and creative voices with feet and minds in jazz, improvised music and related experimental matters. Togetherness. A real unit of creativity. Of poetic beauty. Anna Högberg as a modern free jazz standard bearer keeping it all together – her rich alto sax leading the ensemble into layers of high octane outbursts and sensational melodic variations. Her tone being able to cut landscapes open, to melt your brain as we know it. Check the two tenor sax axes out! Elin Forkelid Larsson and Malin Wättring knows how to attack matters – how to structure solos and ensemble work with intense warmth and melodic beauty. Seldom have I heard such warm and rich sounding tenors in Scandinavia. The time is here. The attack attack! Drummer Anna Lund punctuating the flow… attacking it all. Laying fundaments of possibilities for the others. The attack attack! Pianist Lisa Ullén adding her thorny, but detailed phrases to the picture. The picture of the attack attack. And last but not least. The attack attack of deep sounding bass maestro Elsa Bergman. With an unusaul imagination of how to position her own language and bass lines into a collective of attacking free jazz. Freeing the jazz. Attacking the jazz. The attack attack!” - Mats Gustafsson.

Artist: KARKHANA
Title: Nafas/Nefes
Format: 7"
Label: Omlott
Country: Sweden
Price: $10.00
Limited to 300 copies. "Combining some of the most innovative players from each of three cities (Beirut – Cairo – Istanbul), Karkhana met in Beirut for the first time in February 2014 with the very ambitious aim to bring together elements from the three major experimental music scenes of the area. The bands music strives to create a unique musical blend combining free jazz and psychedelic with various shades of ethnic and traditional music, traces of shaabi, tarab… Building on the multi-instrumental capacities of its members, the group tries to create an atmosphere full of surprises for both the listeners and the performers themselves, developing what could possibly be called a “Free Middle-Eastern Music”." - Omlott.

Artist: KONSTRUKT FEATURING ALAN WILKINSON, ALEXANDER HAWKINS & DANIEL SPICER
Title: L.O.T.U.S.
Format: Double LP
Label: Omlott
Country: Sweden
Price: $24.00
Limited to 300 copies. "Konstrukt has made contact both Alexander Hawkins and Alan Wilkinson during their presence at Konfrontationen Festival in Nickelsdorf in 2013 where the band performed for the second time in Austria after Saalfelden Jazz Festival with Marshall Allen in 2011. All three parts were excited and have agreed to get together sometime in the future.

In 2015, Konstrukt shared the stage at Café Oto, London with Alexander Hawkins for the first time during their European Tour. It was a total blast and this performance resulted on DL by Café Oto’s in-house label Otoroku and released next year as double LP by Italian label Holidays Records. In 2016, when the band has been invited by Brighton Alternative Jazz Festival to play a UK date again with Alexander Hawkins, London, Cafe Too was chosen as their next stop, and they finally managed to have Alan and Daniel (promoter, musician, critic, writer, radio host) on board and Alexander most naturally joined the band again to perform in a large scale orchestra. The result was a night of music with high energy and a wide musical perspective. From drum&bass to ethnic funk vibes, from straight free jazz bursts to spiritual chantings, the whole performance here shows a wide range of outer wordly aspects of all musicians present.Konstrukt is very grateful to be able to work with Omlott again on this recording, after their first collaboration with Joe McPhee on their critically acclaimed “If You Have Time LP”." - Omlott.

Artist: MCPHEE, JOE & KONSTRUKT
Title: If You Have Time
Format: LP
Label: Omlott
Country: Sweden
Price: $23.00
"New studio album with Joe McPhee (US) and Konstrukt (Turkey). Limited to 400 copies." - Omlott.

Artist: NEUTRAL
Title: När
Format: Mini-LP
Label: Omlott
Country: Sweden
Price: $21.00
Limited to 300 copies. "A troubled 8-track mini album that stayed on the other side of the Atlantic for a bit before returning firmly to the Omlott headquarters. Meanwhile, the band kept busy doing one-off shows in the US and micro-tours with Lydia Lunch in between the occasional shows in Belgium and Sweden. If you seen Neutral live during the last few years, chances are good that you already heard tracks like Du and Köldgatan, both already prominent parts of their live set. The opener Du is a wonderful take on Chris Knoxs everlasting Not Given Lightly, arguably the strongest love song ever written, though respectfully mangled through the Neutral filter. Recorded hot on the heels of the second album, the duo almost completely abandons the guitars on När in favour of synths and electronics. The pace is traditionally slow and moody and the mumbled kitchen sink realism is forever, yet När could very well be the most melodic and direct recording weve heard from the band." - Omlott.

Artist: NEUTRAL
Title: s/t
Format: LP
Label: Omlott
Country: Sweden
Price: $24.00
Edition of 500. Neutral is the duo of Dan Johansson (Sewer Election, etc) and Sofie Herner (Enhet För Fri Musik). “In a sweaty art space open to no one and just a stones throw away from the Utmarken venue where it all in more than one way kind of began, Neutral did their first show in front of maybe 25 people. The free jazz drummer Peeter Uuskyla opened the night with a shimmering set of absurd, life-elevating bliss and Neutral just ripped it all apart. There and then sort of Gothenburg underground ground zero, or more like ground nothing. New beginnings and grey waves of something very exciting. Its been close to 2 years now but its one of those nights that I will remember forever. Since then Ive seen Neutral on several occasions and its always been a pleasure, always refining their craft but at the same time shredding the improvement to tiny pieces with every heartbeat. Its like they are taking one step forward and two steps back with every minute they produce, and in a very rare and weird way getting better and more interesting doing so. The untitled second album, following up Grå Våg Gamlestaden (Omlott, 2014), does just that. It takes everything that made the debut album so special and puts it in a rusty meat grinder, taking a piss on the deconstructed mess and puts it together again, piece by piece. The formula might be almost identical, but the final outcome is different. Where the debut was immediate and fairly easy to resonate with, the new album is almost impossible to penetrate at first. You can sense that theres something resembling a ragged beauty somewhere, but its hard to reach. Its like Neutral deliberately placed various obstacles along the way, fucking with everyones expectations and rightfully so. Still, after each time spent with those 35 minutes things will slowly unfold themselves and there you are, pleased with one of the most fully realized and beautiful recordings to ever come from the shitfaced Utmarken camp of misunderstood geniuses. Yeah, I actually heard them all. Neutral manages to connect the dots between everything from Chrome and Siltbreezian gold from the 90s to the more experimental sides of Dome, while throwing in some tape work that could only originate from Gothenburg and brutish guitar playing bringing JFK, Skullflower and maybe even rock-era Ramleh to mind at times. Lets not forget the mysterious field recordings scattered along the way, and Sofie Herners dry, talked vocals, leading at least this listener to the realization that theres no end to this fucking winter.” - Matthias Andersson.

Artist: SPJÄRNSVALLET
Title: Again and Again
Format: LP
Label: Omlott
Country: Sweden
Price: $23.00
"One of the first groups to dig deep into the ethnic musics of the world, Spjärnsvallet was formed in the early seventies when Bengt Berger who had studied music in India (and was on his way to Ghana), met Christer Bothén who had learned in Mali (and was on his way to Morocco) for a long collaboration with Don Cherry beginning 1973 in New York where INNOCENCE is recorded. This was the starting point for the group with likeminded associates Nikke Ström and Kjell Westling. In 1975 we recorded the minor classic album Spjärnsvallet together. Some material that was not released then or was shortened to fit the LP format make up the main part of this album plus a recording the three of us did just now: AGAIN – in remembrance of deceased multi instrument genius Kjell Westling, where we improvise around a couple of the tunes we used to play 40 years back." - Spjärnsvallet.

Artist: UUSKLYA, PEETER
Title: Daydreaming Nerves
Format: Double LP
Label: Omlott
Country: Sweden
Price: $30.00
Edition of 300.

Artist: UUSKLYA, PEETER FEATURING BENGT
Title: Winged Body
Format: LP & 7"
Label: Omlott
Country: Sweden
Price: $23.00
“Archaic Sounds, Natural Music & Joy”
“This album is about a way to simply make raw, basic, natural and joyful music. This album is also about and with the Swedish saxophone visionary Bengt Nordström, ”Frippe” who first of all talked to me about making and playing natural music. The legend of Bengt Nordström (1936-2000) tells how he picked up the clarinet and the saxophone after being deeply touched by the music of Tony Scott and Sonny Rollins.
Then meeting Ornette Coleman and Albert Ayler changed his musical vision; so much that he no longer fit into the contemporary jazz scene in Sweden. Frippe spoke of a totally spontaneous, improvised, creative music at a time when everyone else was trying to master
bebop. Because of this, he was left to play alone for many years. He became ”the outsider”; that nobody wanted, or had the nerve to play with. During intermissions at clubs, like the ”Golden
Circle”, he took the opportunity to play small solo concerts and recorded himself. He released small editions of his work on his own ”Bird Notes” label. Although the recordings were mostly solo sax, on rare occasions, he was joined by Don Cherry on trumpet, bassist
Sven Hessle or bassist Björn Alke who would show up to play duets with him. His collection had two releases: Albert Aylers; ”Something Different!!!!!!” (BNLP 1) and Bengt Nordströms
own; ”Natural Music” (BNLP 2). The other recordings were not numbered or catalouged but were released as LPs and EPs. It was not until the mid 70s that Bengt Frippe Nordström formed his own band, the ”Miljövårdsverket”. After some years of trying different constellations, the musicians, bassist Björn Alke (1938-2000), violin player Lars Svanteson (b. 1949) and myself, drummer Peeter Uuskyla (b. 1951), became established as a ”working unit” and cut the albums ”Nows The Frippe Time” (Dragon Records DRLP 82), ”The Environmental Control Office” (Ayler Records aylCD-021/022), ”Frippes Protocol” (aylDL-086) and ”Creative
Addition” (aylDL-116). This album is also about me talking to my children Nema (b. 1993) and Simon Cecil (b. 1990) to continue making natural music with your own voice, body and whatever music instruments you use. This album is recreated, created and recorded 2015, 7″ vinyl side A recorded 1967 and side B recorded 1987. Hope you like it!” - Peeter Uuskyla.

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