ULTRALYD: Inertiadrome (Rune Grammofon)

themilkman on Dec 7th 2010 12:57 am

Ultralyd: Inertiadrome

Rune Grammofon 2010
05 Tracks. 40mins44secs

Amazon UK: CD | DLD US: CD | LP | DLD Boomkat: CD | LP iTunes: DLD

Even to Rune Grammofon’s standards, Ultralyd are a pretty odd offering. Taking elements of contemporary experimental jazz, abstract composition, rock and heavy metal and fusing them together into something quite unique. Formed in 2004 when bass player Kjertil D Brandsdal joined the trio of saxophonist Frode Gjerstad, guitarist Anders Hana and drummer and percussionist Morten J Olsen, Ultralyd released their first self-titled album, published on UK imprint FMR Records, that same year, then a second, Chromosome Gun, a few months later on Load Records. Gjerstad left in 2006, and was replaced with Kjetil Møster, just in time to record their Rune Grammofon debut, Conditions For A Piece Of Music. Inertiadrome follows the very limited, vinyl-only album Renditions which Ultralyd published last year on RG’s sister imprint The Last Record Company. Continue Reading »

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VARIOUS ARTISTS: Twenty Centuries Of Stony Sleep (Rune Grammofon)

themilkman on Oct 19th 2010 12:57 am

Various Artists: Twenty Centuries Of Stony Sleep

Twenty Centuries Of Stony Sleep
Rune Grammofon 2010
13 Tracks. 75mins24secs

Amazon UK: CD US: CD | LP Norman Records: CD | LP

Twelve years on from Supersilent’s monumental triple CD debut release, Rune Grammofon have reached a new milestone with this, their hundredth release. Twenty Centuries Of Stony Sleep collects thirteen tracks, twelve of which exclusive to this album, from quite a wide cross-section of the label’s roster, ranging from long-serving acts (Alog, Scorch Trio, Supersilent, Ultralyd, In The Country, Deathprod or Maja Ratjke) to more recent joiners (Espen Eriksen Trio, Puma, Bushman’s Revenge or new signing Jenny Hval).

There are few record labels who have developed such a strong and consistent aesthetic as Rune Grammofon, not only visually, there is not one release which hasn’t had the Kim Hiorthøy treatment, but also through its catalogue, which, in the case of Rune Grammofon stretches from abstract jazz, traditional Scandinavian folk to ambient electronic music and from ethereal pop to avant-garde classical to heavy metal, always with a strong exploratory angle at its core. Continue Reading »

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VARIOUS ARTISTS: Money Will Ruin Everything: Second Edition (Rune Grammofon)

themilkman on Apr 16th 2009 12:25 am

Various Artists: Money Will Ruin Everything: The Second Edition

Money Will Ruin Everything: The Second Edition
Rune Grammofon 2009
25 Tracks. 152mins42secs

Icon: arrow Buy: CD

‘It’s hard work to sell Rune CD outside of a small group of freaks’. To celebrate its first five years of activity, Norwegian label Rune Grammofon issued Money Will Ruin Everything, a beautiful limited collection documenting the label’s first few years spent charting the outer reaches of the music industry, spread over two CDs and presented with a book designed by Kim Hiorthøy. Fast forward five years and a few months, and it is time for label owner Rune Kristoffersen to look back once again and take stock of one of the most eclectic and forward-thinking catalogue around. And once again, Kim Hiorthøy, who is still single-handedly responsible for the visual identity of the label, including its occasional advertising, has designed a beautiful artefact, which collects not only the two CDs of this second edition of Money Will Ruin Everything, introduced by Geoff Travis and Robert Fricke, but also essays by Wire collaborator Rob Young and design consultant Adrian Shaughnessy, photographs and artwork reproductions. Continue Reading »

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ULTRALYD – Conditions For A Piece Of Music (Rune Grammofon)

Max Schaefer on Aug 1st 2007 09:56 pm

Conditions For A Piece Of Music

Conditions For A Piece Of Music
Rune Grammofon 2007
12 Tracks. 54mins20secs

The third full-length effort from Norway’s Ultralyd rings true as an allergic reaction to the present-day obligation to see, to the impossibility of not seeing. To the extent that the quartet compresses their frenetic energy – displayed with some extravagance on previous efforts – producing tightly wound compositions that exploit extremes of pitch and dynamics, they cling to a certain disheveled denial of words, and a conscientious objection to the transparent object. Album opener Saprochord seeks to demobilize itself, the players nailing themselves down to sharp-honed, muted tone and harmonic contour and a bubbling rhythm section. Continue Reading »

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