Talibam!'s 1st cinematic album of through-composed ecogothic geosonics, the "soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth" from NY's duo of Matt Mottel on mini moog and synths, and Kevin Shea on drums, and midi mallet percussion.
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180 gram colored vinyl limited to 600 copies
Catalog ID: ESPDISK 5016LP
Squidco Product Code: 24564
Recorded in Paris, France, at Instants Chavirrs, by Etienne Foyer; in New York City, New York, at Spormarang, PHB Studio, Studio UNOR, and 14 Wall Street, by Talibam!; in East Williamsburg at Barker Studios, by Andrew Barker.
Matt Mottel-mini moog, midi synths, synths
Kevin Shea-drum set, midi mallet percussion
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1. "Antarctica shall be used for peaceful purposes only" (Article 1) 11:55
2. Human Interference and the Failure to Ratify 04:08
3. Reign of Primordial Tenure on the Ice Shelf 03:01
1. The Telegenic Annexation of Territorial Expanse in the West 02:03
2. Obsequious Resources Duly Exploited De Novo 05:04
3. Breach of Ecology on the Seabed (Biodiversity in Shambles) 01:51
4. Cost-Effective Drilling Enabled by Pioneering Technologies and Warmer Climates in the Southern Ocean 06:10
5. RISE OF THE DEFENDERS OF ANTARCTICA 04:03
NY Downtown & Jazz/Improv
New in Improvised Music
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sample the album:
"Antarctica shall be used for peaceful purposes only (Art. I)."
"No acts or activities taking place while the present Treaty is in force shall constitute a basis for asserting, supporting or denying a claim to territorial sovereignty in Antarctica or create any rights of sovereignty in Antarctica. No new claim, or enlargement of an existing claim to territorial sovereignty in Antarctica shall be asserted while the present Treaty is in force (Art. IV )." - The Antarctic Treaty
Talibam! has made a geopsychic prediction: after it expires in 2048, the Antarctic Treaty System will be rejected. As the rest of the planet will have been rendered uninhabitable due to wars rooted in over population, global warming and the relentless exploitation of diminishing resources, human interference and the failure to ratify will lead to a final international war over the sovereignty and control of Antarctica's vast resources.
Endgame Of The Anthropocene (ESP-Disk') is Talibam!'s first cinematic album of through-composed ecogothic geosonics. It is the soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth. This inevitable destruction of Antarctica's purity marks the global-environmental endgame of the Anthropocene.
Endgame Of The Anthropocene is a dystopian sonic pronouncement of failed socio-environmental memes, and features Talibam!'s emergence into hyperkinetic rhythm-based instrumental/electronic music. Syncopation via polyrhythmic electronic drum and synth pads create corporeal dance floor beats that would make a super computer perturbed. Kevin Shea is a master of cyber swing and ecowar rhythm - on this record, he keeps it android yet anthropoid like Aphex Twin meets a hologram Phil Collins. Keyboardist Matt Mottel anchors wide sweeps of analog synthesis - his sonic palette oscillating between the Silver Apples, Sun Ra, and Arca via an Arduino beta bass drop.
This music is hallucinatory composition - electronic muzik via an ethnographic sonic landscape influenced by Parmegiani, Don Cherry, Front 242, Hailu Mergia, Vangelis, Suicide, Islam Chipsy, Stockhausen and DJ Shadow.
Endgame Of The Anthropocene marks Talibam!'s return to the legendary ESP-Disk' record label, a partnership begun in 2009 with the release of the highly acclaimed Boogie In The Breeze Blocks album. Talibam! is thrilled to announce ESP-Disk' will also be releasing their new long-from composition HARD VIBE (a cosmic-modular jazz quartet album featuring saxophonist Matt Nelson and Ron Stabinsky on B3 Organ)."-Talibam!
180 gram colored vinyl limited to 600 copies
• Show Bio for Matt Mottel
"Matthew Mottel, is an internationally recognized musician and artist, performing most notably with Talibam! for the past seven years. His visage should be familiar to anyone who's been going to shows in NYC in the past ten years. He's been hanging around NYC clubs since he was like 16, and dropping electric mind bombs with his synthesizer in those clubs nearly as long with folks like Karole Armitage, Rhys Chatham, Awesome Color, Akron/Family, Jeffrey Lewis, Chris Taylor (Grizzly Bear), Kenny Wollesen, Chris Corsano, Ras Moshe, Cooper-Moore, Sean Meehan, and many others."-Free Music Archive (http://freemusicarchive.org/music/Matt_Mottel/)
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• Show Bio for Kevin Shea
"Kevin Shea is valued as being a vital and original artist in the contemporary music scene. Shea's originality is manifested not only by his personal approach to his instrument, but also throughout his constant search for new musical horizons unifying all the bands he has been involved in despite the parameters set for musicians by genre definition, or by historical icons.
The plurality of rigorous artistic aspirations and creative engagement that distinguish the discography of Kevin Shea are not the product of chance or merely taking advantage of opportunities -- but the result of labor, strong convictions, and a strong conceptual support -- a deliberate search for transitional territories away from the dogmas of boring and unnecessary conventions.
Shea's artistic interests are rooted in reevaluating what a band/music, musician/performer, artist and audience can and should be. Splitting the difference between passion and song, Shea plays multi-dimensional utopian sound in which opposing musical forces integrate to form a new sustainable recipe for sound and social implication. Remaining devoted to his belief that the application of sonic diversity is paramount to the appreciation of human diversity, Shea's ultimate goal has been to wed disparate ideologies through proficiency, controversy, inquiry, and compassion -- an approach perpetuating audiences, listeners, and sometimes fellow band members, to face, question, define, and attempt to defend their own level of tolerance and compassion head-on, no-holds-barred.
Through this carefully planned direct method in the round, Shea's sonic investigations emphatically traverse the mobius strip highway of refurbished canticles, perpetually climaxing between Sadean semelparity and Platonic resurrection. At the heart of Shea's dialectical core, unabashed artifacts of rhythmic iconoclasm conjoin with anthemic melody gestures and modern memory loss to create a vital force that gives us bittersweet contemplation and empathy.
As a youth, Shea moved throughout the States many times, transforming any of his formal expectations into a joyous foundation of constant flux. He learned that intuition and customs had to be constantly re-evaluated and negotiated rather than held as sacred. This process of questioning is central to Shea's music. To him, sound is a result of a broader process rather than formulas tied to notions of predictable emotional response. Shea sees sound and music, not as a prize, but a simple aspect of banal daily life.
Kevin Shea has over 25 years of experience as a professional drummer, composer and performer. He has recorded on over 120 albums in a mish-mash of contexts and has performed in over 40 countries. His training started in public elementary school and continued steadily through his college years at Berklee College of Music."-Kevin Shea website (http://www.kevinshea.info/)
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