October 9 street date. Amish is pleased to announce a new release featuring work from two American noise and sound artists, the Ohio-based MIKE SHIFLET and the recent Portland-to-New York transplant PETE SWANSON. The fifth installment in the label's Required Wreckers series features side-long compositions that borrow as much from the worlds of noise and power electronics that Swanson and Shiflet were affiliated with in the early parts of their careers, as from techno and modern composition. Mike Shiflet's "Bedside" utilizes disparate sources-guitar, field recordings, abstract electronic textures and white noise-to create a composition that's both warmly pastoral and defamiliar. This is one of Shiflet's most beautiful works to date.
March 12 street date. Following the devastating one-two punch of Man With Potential and Pro Style for Type Records, Pete Swanson returns to his deformed warehouse techno sound with Punk Authority. After leaving cornerstone US noise duo Yellow Swans, Swanson made it his mission to pull apart the techno genre by the seams. This four track stomper for Software Recording Co. is by far his most damaged solo offering to date. With a sly nod to Police Academy, 'Punk Authority' launches into a barrage of debauched, regressive noise punctuated by the kind of beats you’d more readily expect to find on an Underground Resistance 12" (And that’s as effortlessly engaging as it sounds). Using a deceptively simple synthesizer/tape setup, Swanson siphons his club constructions through a hoarse mix of saturation and overdrive, resulting in something aggressive yet effortlessly foot pushing. Punk Authority might have the kind of surface grit you’d expect to come across on a hand-painted cassette tape, but at its heart is a vomited pulse half-heard through a Stuttgart toilet stall. Swanson has successfully re-tooled a genre to fit his needs, and this Punk Authority is his chance to really crack his bare knuckles.
March 26 street date. Sparkling acoustic guitar, audible vocals, audible room tone-a PETE SWANSON no one has ever heard before-although his signature degradation systems are still in place (both sides end with a blown-out acoustic guitar emulating dirty-needled distortion). Acoustic strings, four walls and a voice dominate dusty interpretations of Dadamah's "High Time," and Gate's "Trees," both redolent of the darkest, coldest Dunedin winter as imagined from half a world away. Volume five in Emerald Cocoon's Alone Together series. Edition of 300.
October 1 street date. The band’s third album was originally released in August 2011 and widely acclaimed as their finest. All formats feature the original album plus the Occultation singles and two previously-unreleased tracks, Maybe It’s You, the first demo recorded in 2007, and Half Life, a brand new spoken-word piece complementing two others, one of which The Coldest Winter For A Hundred Years gave the album its title. This moving sonic memoir of Paul’s flatmate, Bunnymen drummer Pete de Freitas, has become a huge fan favourite and now makes its first appearance on an album. As was widely noted on release, the album’s subject matter is Liverpool. The Wild Swans were a key part of the city’s post-punk scene, forming after prime mover Paul Simpson had left The Teardrop Explodes, and releasing The Revolutionary Spirit, the last - and, in Bill Drummond’s words, best - single on Zoo Records. As Paul puts it: "For me, The Coldest Winter was the most emotionally explosive session by a long way, but also the most beautiful. English Electric Lightning, the song that started this project, had the working title of 'Punk Jerusalem' and, for me, that sums up the entire album; Blakean themes constrained by budget and will. Along with early anthems The Revolutionary Spirit and No Bleeding, The Coldest Winter For A Hundred Years is the closest I have yet come to defining The Wild Swans.".
September 18 street date. Known for his uncompromising tape and synthesizer work, Pete Swanson has pushed the limits of electronic music since the early 2000s. Since stepping down as half of formative underground duo Yellow Swans, he has subverted the genres of noise and electronic dance music as a solo artist. For Eliminated Artist, the third LP release from ISSUE Project Room's Distributed Objects imprint, Swanson ventures into new territories with two works at the intersection of electronic and acoustic sound, created in collaboration with New York instrumental quartet Yarn/Wire. Combining electronics, tape loops, and modular synthesizer with Yarn/Wire's unique ensemble of two pianists and two percussionists, both works were recorded live at ISSUE Project Room, initiated as part of the ensemble's 2011 residency at the Brooklyn venue and presenting organization. For the title-track, "Eliminated Artist" (2012), Swanson recorded improvised rehearsals by Yarn/Wire, from which he crafted an exacting, repeatable framework for live performance. A combination of live signal and rehearsal recordings were then constructed by Swanson into a live electronic mix, ranging from tranquil chromatic textures to unhinged distortion. "Corrections" (2014) emerged from a series of recorded fragments Swanson made using "the Putney," an early EMS VCS3 modular synthesizer, at Rotterdam's WORM studios in 2013. Over two days of rehearsal, Yarn/Wire and Swanson developed acoustic arrangements to integrate with the earlier recordings. Clattering, intricate rhythms combine with soaring synthesizer-pitches and heavy, percussive beats; the result is atmospheric, physical, and precise. Yarn/Wire: Ning Yu, Laura Barger: piano; Russell Greenberg, Ian Antonio: percussion. Pete Swanson: EMS VCS3, electronics, and tape. "Corrections" recorded live at ISSUE Project Room on May 1, 2014; EMS VCS3 for Corrections recorded at WORM Studios, Rotterdam, December 2013. "Eliminated Artist" recorded live at ISSUE Project Room March 22, 2012. Mastered by Rashad Becker. Limited edition of 500 on 150-gram vinyl.