#Cabin Floor Esoterica

[everydaym0nstrosity]

145 Of The Best Avantgarde/Experimental Record Labels Of All Time

  4iB Records

  905 Tapes

  Abandonment

 Abhorrent A.D.

 Aguirre Records

Alchemy Records

American Tapes

Angst

Ant-Zen

Arbor

Artoffact Records

ASRAR

At War With False Noise

Audial Decimation Records

Bacteria Field

Basement Tapes

Beast 666 Tapes

Bizarre Audio Arts

Blackest Ever Black

BloodLust!

Breathing Problem Productions

Broken Flag

Cabin Floor Esoterica

Callow God

((Cave)) Recordings

Chondritic Sound

Cloud Valley

Cloister Recordings

Cold Meat Industry

Cold Spring

Come Organisation

Crucial Blast

Cryo Chamber

Dada Drumming

Dark Vinyl Records

Deadline Recordings

Deathbed Tapes

Depressive Illusions Records

Diseased Audio

Dom/Dom America

Downwards

Drakkar Productions

Drone Records

Editions Mego

Eibon Records

End All Life Productions

Excite Bike

Extreme/Zero Cabal

Fag Tapes

Filth And Violence

Finders Keepers Records

Forced Exposure

Freak Animal Records

Fusty Cunt

Gods Of Tundra

G.R.O.S.S.

Hanson Records

Harbinger Sound

Harsh Head Rituals

Harshnoise

Hooker Vision

Hospital Productions

Housecraft Recordings

Hydra Head Records

iDEAL Recordings

Ipecac Recordings

Infinite Fog Productions

Järtecknet

Less Than Zero

Living Tapes

Loud!

Maggot Valley

Mannequin

Malignant Records

Menstrualrecordings

Monorail Trespassing

Moon Mist Music

Mother Savage Noise Productions

Murder Release

Musica Maxima Magnetica

Mutual Aid Records

Narcolepsia

Nefarious Activities

Night People

No Fun Productions

No Kings

Not Not Fun Records

Nurse Etiquette

Old Europa Cafe

Oxidation

Phantasma Disques

Posh Isolation

Primitive Propaganda

Prophecy Productions

Release The Bats Records

Relapse Records/Release Entertainment

RRRecords

Rotifer Cassettes

Rotorelief

Sacred Bones Records

Satanic Skinhead Propaganda

Segerhuva

Self Abuse Records

Shock

Side Effects

Skam

Skeleton Dust Records

Sky Burial

Slaughter Productions

Sloow Tapes

Smell The Stench

Soffitta Macabre

Sound Of Pig

Southern Lord

Space Slave Editions

Spite

Staalplaat/Nekrophile Rekords

Steinklang Industries

Sterile Records

Susan Lawly

Swampland

Sweat Lodge Guru

Terror

Tesco Organisation

Third Man Records

Thorax Harsh Cassettes

Torso

Total Black

Tranquility Tapes

Trapdoor Tapes

Trash Ritual

Tribe Tapes

Troniks

True Force/Pain Electronics

Turgid Animal

Tzadik

Urashima

Utmarken

Vis A Vis Audio Arts

Wagon

Wax Trax! Records

White Centipede Noise

Weird Input Records

We Release Whatever The Fuck We Want Records

ZSF Produkt/Lowest Music & Arts

[musicmakesyousmart]

If Only They - Self-titled

Cabin Floor Esoterica

2014

[equatorjournal]

[hastioexquisito]

2017 Beauties:

East of the Valley Blues and Rootless on Cabin Floor Esoterica

Prana Crafter and somesurprises on Eiderdown Records

Ignatz on Taping Policies Tona on Orb Tapes East of the Valley Blues on Death Is Not The End Onda/Dorji/Chen on Black Pollen Press

[lflip]

(Cabin Floor Esoterica)

[aonedog]

Nagual & Carl Mitchell - Improvisations I & II c40 (Cabin Floor Esoterica [CFE#49] 2014)

[northcountryprimitive]

ROOTLESS All That’s Left is a Desert (Aural Canyon 2018)

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Originally published December 11, 2018

I’m very much enjoying the new wave of post-American Primitive artists doing the rounds at the moment: musicians who are taking the classic steel-strung guitar sounds of Fahey, Basho, Lang et al and using them as a springboard from which to dive into new and varied rivers of sound. Andrew Weathers has been ploughing this furrow for a good few years; Dylan Golden Aycock and M. Mucci are both regular dabblers; Elkhorn have added to the pot by spiralling off into cosmic fingerstyle psychedelia.

To this band of forward voyagers, we must now add Los Angeles based, New York native Jeremy Hurewitz, who releases music as Rootless, with previous albums on Experimedia and Cabin Floor Esoterica. His fourth outing, All That’s Left is a Desert, is his first for Austin, Texas-based Aural Canyon, a label hitherto more associated with modular synth and deep drone - which is, of course, in itself a fine and beauteous thing. Jeremy’s music dovetails neatly with the Aural Canyon aesthetic, not just because of the occasional hazily ambient passage, such as you might find towards the end of his astonishing magnum opus ‘Last Man Standing’, but because this is revelatory, immersive music.

Rootless arguably has a retooled new age vibe: not the wafty, overly-mannered new age muzak of popular cliche, but the real deal: organic mind and body music for deep listening and high times. The touchstone here is very early Windham Hill, a label founded, if we recall, by William Ackerman, himself a rather fine fingerstyle player whose debut, In Search of the Turtle’s Navel, paid sly homage to Fahey. It’s all circles within circles round these parts. The beautiful, insinuating urgency of ‘Self Contained’ is the strongest evidence for this allegation, a bubbling, eddying track that gathers momentum as it races downstream, until it resolves itself in a field recording of waves lapping on shingle.

This is far from mere unreconstructed new age redux, however. The American Primitive thing is there - and nudging more towards Basho than Fahey, particularly on the most straightforward offering, ‘The Third Man’- but when it comes to the guitar lineage, the man Jeremy identifies as a key influence, the mighty Sir Richard Bishop, looms large: not so much in the playing itself, though that is there, but in a shared dedication to a roving, questing, borderless eclecticism, that might take in psychedelic folk, improvised music, Middle Eastern tropes and found sounds - as exemplified by closer ‘Within from Without’, an ominous nocturnal hymn that is transformed into a quietly blissful evocation of early morning.

The other influence at play, particularly deliciously and most pertinently, is the avant jazz inflections of the Chicago school of post-post rock. This flag is nailed to the mast from the off: opener ‘Perimeter’, which, ironically, is an outright refusal to accept any such thing, quickly shifts from a shimmering solo guitar warm-up to full-on Don Cherry-style multikulti organic jazz, with stuttering percussion and keaning flute provided by Kevin Shea and Matt Nelson, who prove themselves to be sympathetic foils to Jeremy throughout.

This is music that exists - but is not trapped - in a spider’s web of influences, all of which have been spun before, but which are now recalibrated with a fresh zeal and a wide-open mind. One of the strengths of the album is that it is almost impossible to second guess where a particular track will go from the clues given in the opening few bars. You can happily file this album alongside Sir Richard Bishop; you even can file it next to your favourite American Primitive heroes, especially those with form for experimentation: but the revelation for me is that you can also file it alongside Jeff Parker, Jamie Branch and Nicole Mitchell. Incredibly, Rootless have made one of the best jazz albums of 2018.

https://auralcanyonmusic.bandcamp.com/album/all-thats-left-is-a-desert

[mythandritual]

ROOTLESS All That’s Left is a Desert (Aural Canyon 2018)

I’m very much enjoying the new wave of post-American Primitive artists doing the rounds at the moment: musicians who are taking the classic steel-strung guitar sounds of Fahey, Basho, Lang et al and using them as a springboard from which to dive into new and varied rivers of sound. Andrew Weathers has been ploughing this furrow for a good few years; Dylan Golden Aycock and M. Mucci are both regular dabblers; Elkhorn have added to the pot by spiralling off into cosmic fingerstyle psychedelia.

To this band of forward voyagers, we must now add Los Angeles based, New York native Jeremy Hurewitz, who releases music as Rootless, with previous albums on Experimedia and Cabin Floor Esoterica. His fourth outing, All That’s Left is a Desert, is his first for Austin, Texas-based Aural Canyon, a label hitherto more associated with modular synth and deep drone - which is, of course, in itself a fine and beauteous thing. Jeremy’s music dovetails neatly with the Aural Canyon aesthetic, not just because of the occasional hazily ambient passage, such as you might find towards the end of his astonishing magnum opus ‘Last Man Standing’, but because this is revelatory, immersive music.

Rootless arguably has a retooled new age vibe: not the wafty, overly-mannered new age muzak of popular cliche, but the real deal: organic mind and body music for deep listening and high times. The touchstone here is very early Windham Hill, a label founded, if we recall, by William Ackerman, himself a rather fine fingerstyle player whose debut, In Search of the Turtle’s Navel, paid sly homage to Fahey. It’s all circles within circles round these parts. The beautiful, insinuating urgency of ‘Self Contained’ is the strongest evidence for this allegation, a bubbling, eddying track that gathers momentum as it races downstream, until it resolves itself in a field recording of waves lapping on shingle.

This is far from mere unreconstructed new age redux, however. The American Primitive thing is there - and nudging more towards Basho than Fahey, particularly on the most straightforward offering, ‘The Third Man’- but when it comes to the guitar lineage, the man Jeremy identifies as a key influence, the mighty Sir Richard Bishop, looms large: not so much in the playing itself, though that is there, but in a shared dedication to a roving, questing, borderless eclecticism, that might take in psychedelic folk, improvised music, Middle Eastern tropes and found sounds - as exemplified by closer ‘Within from Without’, an ominous nocturnal hymn that is transformed into a quietly blissful evocation of early morning.

The other influence at play, particularly deliciously and most pertinently, is the avant jazz inflections of the Chicago school of post-post rock. This flag is nailed to the mast from the off: opener ‘Perimeter’, which, ironically, is an outright refusal to accept any such thing, quickly shifts from a shimmering solo guitar warm-up to full-on Don Cherry-style multikulti organic jazz, with stuttering percussion and keaning flute provided by Kevin Shea and Matt Nelson, who prove themselves to be sympathetic foils to Jeremy throughout.

This is music that exists - but is not trapped - in a spider’s web of influences, all of which have been spun before, but which are now recalibrated with a fresh zeal and a wide-open mind. One of the strengths of the album is that it is almost impossible to second guess where a particular track will go from the clues given in the opening few bars. You can happily file this album alongside Sir Richard Bishop; you even can file it next to your favourite American Primitive heroes, especially those with form for experimentation: but the revelation for me is that you can also file it alongside Jeff Parker, Jamie Branch and Nicole Mitchell. Incredibly, Rootless have made one of the best jazz albums of 2018.

https://auralcanyonmusic.bandcamp.com/album/all-thats-left-is-a-desert

[thestillnessandthedancing]

September 26th 2018

Oh yes! We have a fresh batch of elegance for your cloudy days and cooler nights. Autumnal atmospheres and folk musings.

-hour1- Lake Mary & Talk West - Leaving Morning (from.. ST - 2018 - Cabin Floor Esoterica) Slow Fade Sailors - Earthly (from.. While the Soul Slept In Beams of Light - 2018) Gaetan - The Experience of Nothingness (from.. First Light - 2018 - Epoch Tapes) Cultus - He Knows How (from.. Potential Energy - 2018) Kj - ex (from.. Ex - 2018 - Dronarivm) Danny Mulhern - Perpetual Motion (from.. Safe House - 2018 - 1631 Recordings) Jessica Moss - Fractals (Truth 4) (from.. Entanglements - 2018 - Constellation Records) Western Skies Motel - Passage (from.. Buried & Resurfaced - 2015) Aaron Martin - A Hand that Reaches, A Branch that Sings (from.. Touch Dissolves - 2018 - IIKKI)

-hour2- Nicholas Szczepanik - Nostalgia (from.. We Make Life Sad - 2012 - WeMe Records) Leyland Kirby aka The Caretaker - M1 Stage 5 Synapse retrogenesis (from.. Everywhere at the end of time - 2018) Grouper - Living Room (from.. Man Who Died in His Boat - 2013 - Kranky) Celestino - Lovely Hermit Phased (from.. Kindling - 2013 - A Guide to Saints/Room40) Ezekiel Honig - Antique Paper (from.. An Antique of Paper & Distance - 2018) Celestino - Peaceful Tigress (from.. Lived In - 2012) Roy Montgomery - Clear Night, Port Hills (from.. Scenes From the South Island - 1995) Danny Paul Grody - On Leaving (from.. Sketch for Winder VI: Other States - 2016) Caleb R.K. Williams - Mustang (from.. Horses Look Behind the Sky, And All Is Wild - 2018 - The Eagle Stone Collective)

*Photo the cover of kj's ex out now on Dronarivm

[dyingforbadmusic]

Rootless "Music In The Trees" by Cabin Floor Esoterica

from "Sculptures Deep Within the Cave" coming June 21st

[auralthicket]

episode 24: terrestrial music, part two (06.02.21)

set 1:

Alhaji Bai Konte -- Alla L’Aa Ke -- Kora Melodies from the Republic of the Gambia, West Africa (Rounder, 1973)

world record winner -- walking with you -- confidence (bud tapes, 2020)

Jasper Lee -- Wisteria in Your Hair, Dusk in the Valley -- Seasonal Séance: Vernal Equinox [V/A]  (Sweet Wreath, 2020)

Dorothy Carter -- Along the River -- Waillee Waillee (Celeste, 1978)

set 2:

Myriam Gendron -- Threnody -- Not So Deep as a Well (Feeding Tube, 2014)

Erik Kramer -- Face of God on the Forest Floor -- A House, Floating in the Middle of a Lake (Anthropocene, 2017)

Steve Palmer & Matt Beachey -- Elbow -- Slow Clarity (Cabin Floor Esoterica, 2016)

Natalie Jane Hill -- Emerald Blue -- Azalea (Dear Life, 2020)

set 3:

Exuma -- A Place Called Earth -- Exuma II (Mercury, 1970)

James Schroeder -- NOLA -- Mesa Buoy (self-released, 2020)

Black Twig Pickers -- Dan Friend’s Piece -- Friend’s Peace (VHF, 2021)

Johnny Coley -- Immortal Field -- Antique Sadness (Sweet Wreath, 2021)

[musicmakesyousmart]

White Fir - Lake Seeds / Pale Smoke Laid Low

Cabin Floor Esoterica

2015

[aonedog]

The Knot - Tidewrack c54 (Cabin Floor Esoterica [CFE#59] 2016)

[lflip]

(Cabin Floor Esoterica)