Previously volumes have included Britney paired with artists like The Dead C, Pierre Schaeffer, Arthur Doyle, Francis Dhomont and Yximalloo. This volume includes a number of more obscure New Zealand noise artists like Little Skull, Richard Neave, Jack Ellitt and The Human Instinct (as well as some other surprises). UPDATE: If you enjoyed this check out Volume 1 and Volume 2 as well.
Fourth album by electroacoustic improvisers Nova Scotia (Dean Brown, Rick Jensen, Dick Whyte). Originally released on the independent label Nezvanova Nova this album was unavailable pretty much as soon as it came out. Finally, thanks to the beauty of Bandcamp, it’s in print again for the first time in two years. And while I may be slightly bias, this album is one of my favorite Nova Scotia releases so it makes me especially happy to see it reissued digitally. Find out more about Nova Scotia on the weirdly comprehensive H-Town Wiki.
Liner Notes: Track 2, 3 and 4 recorded at the Photospace Gallery in Wellington on 16/07/03. Track 5 recorded during the 2002 Lines of Flight festival at Arc Cafe in Dunedin on 29/09/02. Track 6 recorded at the Photospace Gallery on 17/12/05. Who knows what instruments we’re all playing – but I can hear horns, harmonicas, bells, tape loops, acoustic guitar and radios, among other things.
“Clearly, the practice of employing geographical themes in band designations has produced largely dubious outcomes (e.g. Asia, Boston, Chicago, America, Kansas, Berlin, Danzig, Hanoi Rocks, etc.). Also personally, I regard naming anything after anything to do with the frozen wasteland otherwise known as Canada to be a questionable aesthetic move. This is just my prejudice. I firmly believe that America has been watching the wrong border for far too long. But that’s another discussion. The music of Nova Scotia, however, has got enough swank to make me forgive any misgivings about their moniker. For those who thrive on other band comparisons, their m.o. could be described as the Animacathedral Lab Technicians Orchestra of Admittance. This is not, however, to imply that these folks smartly rip off obscure bands whilst most stupidly rip off well-known bands. No, if you dig the four outfits I just referred to, you’ll be happy to shovel this dirt too. Sparse, ramshackle drug shuffle that fuses kooky “ethnic” influences and improv abstractions with aplomb.” (Reid Gilchrist, from a review of the 2002 Lines of Flight Festival)