Noveller is Sarah Lipstate, a Brooklyn-based film-maker. She’s recorded three tracks of music for Carlos Giffoni’s No Fun Productions label, now issued as Paint On The Shadows (NFP-47), a beautiful piece of 12-inch vinyl which spins at 45 and contains three sumptuous, beautiful works. ‘St. Powers’ on the A side may just scoop the prize, a composition made of guitar chimes and drones which impresses most with its clarity and simplicity, staying more or less in the same place and delivering a melancholic, meditative charm – it just vibrates with a quiet, taciturn power. Flip it over for ‘Salt on Sand’ and ‘Telecine’, two slightly more aggressive experiments in wiry sound made from electronics, tape and guitar (I’m guessing), both object lessons in dynamic and powerful arrangements. Noveller’s honest and direct approach gives this delicate, shimmering music a very distinctive flavour. Issued in a sleeve which is two sturdy pieces of card, printed with decorative artworks by Caroline Contillo. Very nice! (The other image in black and white which you see was found inside the mailing carton from Brooklyn; not totally sure what it relates to, but it’s pretty striking, eh?)
The ten-inch item pressed in clear vinyl is a vital, pulsing, crackling slab of analogue noise. Back Mirror comes from our friends Monika Subrtova and Daniel Kordik who operate as Jamka and release downloads and vinyl through their Urbsounds Collective project. About this time last year we noted their fine Z Okna Ucha LP. This release, credited to [/] urbsounds collective, is a collaborative work with urbanfailure and rbnx, involving a methodology connected with file-trading; all I know is the results are grand, full of fire, highly abrasive, and a treat to listen to. “A state of perfect chaos” is what the creators aspired to, and they come close to delivering just that. Mad robots destroying each other on the factory floor. Tracks are deconstructed (torn apart) and rebuilt into illogical anti-patterns of delicious mayhem-istic clonks. Great! The press release (they really should have used it as cover artwork) is also nifty, rendering lists of equipment and names of participants in schematic form, with colours and lines reminiscent of an underground tube map, or perhaps a circuit diagram. With track titles like ‘Bashing’, ‘Stress’ and ‘Personal Interference’, how can you lose? If there’s any copies left (it was issued last November), snap one up!