Pias present a reissue of Black Earth by the German doom jazz cult band, Bohren & der Club of Gore, originally released in 2002. Black Earth is a masterpiece and the perfect soundtrack for an imaginary movie experiencing the nights in a dangerous city. For fans of SunnO, OM, Max Richter, Fennesz. "The substance we are seeking here lies beyond the bare bones of fact, the when and the where (founded in 1988, Mülheim an der Ruhr) or personnel and instruments. Mysteries may very well lurk here or there along the way. What keeps the final two founder members going after all this time? Do Morten Gass and Robin Rodenberg have skeletons locked in their closets? How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved. Including their debut Gore Motel (1994), Bohren & der Club of Gore have amassed an impressive eight long players... Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive, yet repetitious. Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists Gore (the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future... Similarly conspicuous by their absence in the Bohren chronicles are the numerous instruments which they added to the mix. The introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums. A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. The music of Bohren & der Club of Gore opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a dusky woodland tavern to a smoky quayside dive... These sinister crackling songs are invitations to secrete oneself in darkness." -Lars Brinkman.
Pias present a reissue of the 2005 album from Germany's doom jazz cult band Bohren & der Club of Gore, Geisterfaust. Geisterfaust, featuring the slowest band on earth in an even more reduced and slow motion style, is back in full glory, with 58 minutes of playtime over five astonishing tracks. "Geisterfaust" might be translated as "the fist of a ghost" and the individual tracks are "trigger finger", "ring finger", "middle finger", "thumb" and "little finger". The group, who are much loved by musicians like Mike Patton (of Faith No More and who releases their albums on the Ipecac label) or Stephen O'Malley (SunnO), deliver outstanding music. For fans of SunnO, OM, Max Richter, Fennesz and David Lynch/Angelo Badalamenti. This is instrumental music of the highest caliber.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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