Nathan Salsburg // Landwerk No. 2 LP

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Kentucky guitarist Nathan Salsburg released this record in 2020 from Philadelphia's indie label No Quarter.

Includes four timeless collaborations of 1920s SP records and improvised guitars.

Labels and other worksplease use this form. ///Click here to see more No Quarter releases available at Tobira.

----------------------

12" black vinyl. One-time pressing edition of 500.

No Quarter:

"Landwerk No. 2 is a second volume of compositions built around samples from 78-rpm phonograph records—in this case, two klezmer sides, one Yiddish folk song, and one tune by a Slovak miners' orchestra from Northeastern Pennsylvania, home of six generations of Salsburgs. While the first volume just happened to coincide with the first months of 2020's problematic peculiarity, No. 2 was undertaken in the depths of the late summer and early fall, when political/social/existential despair hung at their heaviest. musical attempts to translate the past into the present, or to redeem the present through the past, or to discover, in Michael Löwy's formulation (in Chris Turner's translation), a 'critical constellation formed by a particular fragment of the past with a particular moment of the present.'"

Phonographic samples with electric guitar, resonator guitar, lap steel, and piano. Committed August–September 2020 in Skylight, Kentucky. Mixed by Zak Riles at Earthwave Studio, Shelbyville, Kentucky. Mastered by Carl Saff.

Source recordings:

V: from “Rumenishe Doina” by Dave Tarras' Orkester, Columbia 8220-F, recorded in New York City, April 1927.

VI: from Vladimir Heifetz' introduction to “Sug Mir Du Schein Meidele (Tell me you pretty girl)” by Isa Kremer, Brunswick 40082, recorded in New York City, January 1924.

VII: from “Jak som išol prez lesh (As I walked through the forest)” by Slovenska Orkestra Michael Lapchaka, Victor 80576, recorded in Camden, New Jersey, February 1928.

VIII: from “Die Chasidim Forren Tsum Rebbin (The Chasidim Visit The Rabbi)” by Kandel's Orchestra (drummer unidentified), Victor 68680, recorded in New York City, November 1924

Artist : Nathan Salsburg

Label: No Quarter

Quantity

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Kentucky guitarist Nathan Salsburg released this record in 2020 from Philadelphia's indie label No Quarter.

Includes four timeless collaborations of 1920s SP records and improvised guitars.

Labels and other worksplease use this form. ///Click here to see more No Quarter releases available at Tobira.

----------------------

12" black vinyl. One-time pressing edition of 500.

No Quarter:

Artist : Nathan Salsburg

Label: No Quarter

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LP edition of 500. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Now Dream 06:18\u003cbr\u003e2. Saltos 03:51\u003cbr\u003e3. Ticking Clock 03:37\u003cbr\u003e4. Euphoria Part 2 02:51\u003cbr\u003e5. Euphoria Part 1 01:54\u003cbr\u003e6. Sleep Walker 03:42 video\u003cbr\u003e7. Episode 02:21\u003cbr\u003e8. One Breath 04:10\u003cbr\u003e9. Lost in Descanso 03:00\u003cbr\u003e10. Sunrise 02:52\u003cbr\u003e11. The Hidden Path 02:22\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText excerpt by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eAlan Licht, New York, December 2023:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival’s success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others’ at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eNow he has re-emerged in a big way with Dream Walker, his first full-length since 2018’s Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O’Rourke, and Eiko Ishibashi\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he’s done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream...\u003c\/em\u003e\u003cem\u003e\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Carlos Giffoni\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e\n\u003cp\u003eCAT No: SOMA053lp\u003c\/p\u003e"}