Filed under: DJ
Last week, Rob Sevier and Jon Kirby left on a mission trip to the Pacific Northwest to spread the figurative gospel on what Numero does, and how we do it.
Seattle: Set to an infinity loop of Sir Mix-A-Lot’s “Posse On Broadway” (Instrumental), we stopped by Sub Pop to grab a copy of the new Shabazz Palaces record and a set of spare keys. We also discovered the top ten reasons that Kurt Cobain is gay (circa October 1991).
Ferry rides are encouraged.
At the Rifflandia Festival in Victoria, it was discovered that neither the Numero Group or the Phillips Brewery stagehands had slip mats. A call was placed to 1993, yielding two of these cushiony relics to keep our records slippery.
Obligatory picture of humans selecting records in a festive environment.
After Danny Brown exited the stage and we returned, the crowd mostly evaporated, save for two enthusiastic record collectors who turned out to be Psycho Les and Ju Ju (pictured) from the Beatnuts. Ju Ju lamented that we couldn’t remain on site in order to provide intermission music between sets by the Beatnuts, Kool Keith, and Del the Funkee Homosapien, who would all grace the Phillips Stage the following night. We couldn’t agree more.
On the ferry ride to Vancouver, we met another band from Rifflandia. Jon and Rob are in the background whilst BnW (Blondtron x Waspy) fill in the foreground.
Every single person we encountered in Vancouver was amazing and friendly and we have zero documentation to prove any of this. Thanks to Shad for the floorspace and Wifi, Tim from Kingfisher Bluez for letting us use his cell phone (and for the Toshi’s recommendation), and the whole entire crew at Pacific Rhythm Session for throwing the perfect party. Everyone every step of the way was remarkable and kind, and we dreamed sweet dreams of all the new friends and future friends, from the comfort of the Seattle-Tacoma Airport floor. Until next time, The Numero Group
Filed under: Bedhead, Cavern, Jordan De La Sierra, Music From The Mountain Provinces, Unwound
In the spirit of heading back to school, the world’s finest purveyors of aural academia have created this walkman (or iPod if you’re digitally inclined) ready tape of selections from our forthcoming fall releases. All tracks are free for you to download, distribute, dub, and digest.
Over the last ten years, the Numero Group has become a reliable resource to progressive music supervisors in the worlds of television, cinema, and advertising. These industries have given us a unique avenue for circulating our tunes, plus yielding some exceptional royalty checks for our artists in the process. This week, a particularly resilient strain of Mall Madness struck Numero HQ, resulting in placements for both The Gap and Nike.
The Gap tried on “Wait A Minute Girl” by the Newday from South Side Story Vol. 23…
While Nike found a good fit in “Do Your Stuff” by Perk Badger from Eccentric Soul: The Outskirts of Deep City
If you, like some Youtube users, find yourself screaming “IM MAD I CANT FIND THIS SONG” or simply “Disappointing. Most of this video doesn’t live up to the song,” be aware that both South Side Story Vol. 23 and The Outskirts of Deep City are available in physical formats and download on our website.
Armed with a few NSA approved boxes of 45s, Rob Sevier and Jon Kirby will be darting out to the Pacific Northwest this week for a few danceable affairs. Come say hello!
We’ll be sharing the booth with Marc Muller & George Gell of Emerald City Soul Club. Seattle’s alternative weekly The Stranger deemed it “the best damn thing to do” for the evening of September 10th, correctly forecasting that we would indeed be toting “a vast supply of rare cuts to edify and entertain you.” Let the edification begin!
Rifflandia kicks off Thursday evening, so there is a distinct possibility that we will be firing the first shots of the festival. We precede Rat King and Danny Brown on the Phillips Backyard Stage (2010 Government Street, we think). The forecast calls for “Chill” with a chance of slight “Wild.”
This party is an authentic, underground dance party, so we must obscure many of the details. For those in Vancouver wanting to track us down, begin your quest by sending an email to email@example.com. There is no pre-sale for this one and admission is $10 at the door. What a way to go out!
Filed under: Omnibus
Out of the 45 curious singles that populate our Eccentric Soul Omnibus, many bloggers, journalists, and podcasters were drawn to the Ultimate Break and instrumental workout produced by Durham, North Carolina’s Duracha.
At the time of the Omnibus’s construction, retired chemist, eBay grinder, Tarheel, and soul historian Jason Perlmutter was hard at work on an exhibition of artifacts from Durham’s music scene and was able to send us high resolution impressions of Duracha with the quickness. Finally, that exhibit can be seen by all at BullCitySoul.org.
Editor’s Note: Los Angeles rap group People Under The Stairs were among the first to go on record about Duracha, mentioning the Microtronics label by name in a 2002 rap song about record shopping (around 1:09). Those drums, also Duracha.
Filed under: Jordan De La Sierra
A descendant of Erik Satie and a student of Terry Riley, Jordan De La Sierra adhered to the “pure sound with shape” school of piano tuning, his notes unconfined by Bach’s “well tempered” Western tuning. Instead, De La Sierra’s work incorporated the point of view of nature, what La Monte Young called “well tuned,” in which notes are left to reverberate to the full extent of their potential, at varying lengths, to be bent by their player’s improvisation and textural sonic explorations.
In 1977, Gymnosphere producer Stephen Hill convinced Unity Records—the San Franciscan label that’s been called the first New Age record company—to issue an unedited double album, nearly 120 minutes of music, with an accompanying 20-page booklet lavishly decorated by De La Sierra’s India-inspired drawings and musings on a pre-Star Wars concept called “the Force,” to him a “consciousness itself…without an object.” The sumptuous musical object had little hope of selling well, even in the wake of mainstream ambient recordings by Brian Eno and others. Gymnosphere arrived well before New Age was a genre within Tower Records. It was neither Classical, nor truly Avant-garde. In its day, Gymnosphere would be filed most often under World Beat.
After it floundered in the marketplace, Unity trimmed Gymnosphere down to a single LP, with no booklet, no musings, no context. Jordan De La Sierra, a massive physical presence at well over six feet tall, didn’t disappear exactly. But upon his reemergence in the 1980s, a profusion of post-Windham Hill wind-chime tinklers had come up behind him. Gymnosphere, scheduled for cassette and CD reissue a handful of times, was lost to certain organizational shake-ups. Unity itself had folded. De La Sierra went into landscaping, to “generate a profoundly tangible sense of space,” as his 1977 work might’ve had it. The Gymnosphere tapes—five hours and more of shapely, ethereal piano sonatas draped in Grace Cathedral reverb—sat silently on a shelf.
De La Sierra referred to part of this work as “Music For Gymnastics,” and he thought it best heard at night, “at the nexus in the diurnal-nocturnal cycle that the harmonics present.” But to us, Gymnosphere: Song of the Rose has proven a peerless accompaniment to the toils of the day, a calm and motivating force, forever barely there and yet encompassing. It says, in its myriad tone clusters and seductive repetitions: “We are here and we are now.”
Gymnosphere: Song of the Rose will be issued as a 2xCD and 2xLP on December 2nd 2014. You can pre-order it now.
>>> Deluxe double LP and CD recreates the original 1977 running length at nearly 120 minutes
>>> Both formats include a faithful reproduction of De La Sierra’s 20-page booklet of essays and drawings
>>> Erin Osmon’s liner notes detail the intersection of De La Sierra, Hill, and Unity Records
>>> LP inner sleeves replicate the promo edition and 1977 Unity edition
>>> Nifty tip-on jacket features eye-catching spot varnish
Filed under: Purple Snow
Colour us honoured to accept the Association of Independent Music’s award for Special Catalouge Release of the Year. We got word last night that a panel of 23 judges selected Purple Snow from a field of 40, which included releases by Nightmares on Wax and Small Faces. We’ll be totting this thing around like its the Stanley Cup when we return to the UK in September. Surely this thing is good for at least one round of drinks, yes?