agnès pe – morti fire and cagey house – rocks and feathers

There are a lot of seemingly unconnected sounds here but they do all combine effectively to make a remarkable set of electronic dreamscapes...

 

http://www.panyrosasdiscos.net

What’s this? Two short but great releases from the ever-giving miracle that is Chicago’s Pan Y Rosas label. Both last about 15 minutes but there’s enough there to make the statement they need to make. This is the best thing about Pan Y Rosas releases, they never feel half cooked or overblown: they hit you hard, however mad the concept is.

 

agnès pe – morti fire  

http://www.panyrosasdiscos.net/pyr077-agnes-pe-morti-fire/

agnès pe creates a juddering sound in morti fire, and linked to the most underpowered beats you can imagine, coming across like some subterranean escape committee digging their way out of captivity. It’s a rich and very colourful mix of wobbling but insistent beats and some overcooked glitchcore. la nómada is like some elven house party or the spin cycle bit on a washing machine recorded on one of those crappy old mobile tape recorders, whereas  echar purpurina al fuego is delightfully daft: equal parts bedroom Kraut and a tinny 2-D rave. discutir a sangre is a bit more purposeful but still living in the micro world inhabited by the other tracks; it’s a very lurid, funny trip. Lastly we have la revelación de morti fire, which is like listening to Cluster in a different room. I’m telling you, you will either love it or wish you’d never wasted the last 15 minutes.

 

cagey house – rocks and feathers

http://www.panyrosasdiscos.net/pyr078-cagey-house-rocks-and-feathers/

Next in our line of fire is a release from cagey house, described thus: “clockwinding, wooze bend, shakuhachi voice, piano conclusion. synth rain chime bell. mellow videogame free jazz. skitter undertone, twitch electro. melodies from mars. toy matrix pop standards.”

And yes there are clocks. They’re not being wilfully batty here when they say that. This record has an addled sound, messy and often playing on the listener’s feelings but it is never annoying. Actually at times it’s incredibly inspiring and tuneful to boot. Well, why shouldn’t it be? The opener apres sur la table has a disparate and unearthly melody that you can just about hold on to and eventually really enjoy. There are a lot of seemingly unconnected sounds here but they do all combine effectively to make a remarkable set of electronic dreamscapes – driest bones sounds exactly like that and vacation in the land of the finished is brilliantly queasy; whereas  industry calls for free information is another flute and piano based excursion into the subconscious. Things can get weird: spiro vs. free jazz (and can’t win) sounds like a bad dream starring the cast of Freaks.