promising first LP for this Polish minimal drone/noise artists, who works with different intensities on both sides; reminded us on DANIEL MENCHE or FRANCISCO LOPEZ, very much worth to discover ! Lim.400

the Canadian master of metallic harsh drone noise is back! - "On these five tracks of screeching thunderous waves, Bloor creates intense metallic mayhem utilising scrap stainless steel with minimal effects. The sounds were produced from a strip of stainless steel 3ft. long, 2ins. wide, and 1/16 in. thick. It was either bowed, scraped with files, or pummeled with chains. All pieces were recorded without overdubs. This is 'bare-bones' physical noise." - lim 200, a must for fans of old AUBE, D. MENCHE, etc..

Beeindruckendes Album desPerkussionisten JON MUELLER, der das Spektrum der gängigen Drum-Sounds erweitert und auch die Vibrationen und Drones von grossen Gongs & Bass-Trommeln einsetzt. Von der Intensität und Herangehensweise erinnert "Metals" an DANIEL MENCHE, nur dass hier alles "handgespielt" ist , v.a. Dingen geprägt durch Trommelwirbel-artige Wellen, die sich mit Obertönen vermählen; genial minimal & trancig, von grosser Kraft & Intensität... - mastered by JAMES PLOTKIN - last copy!

Full-Colour box w. 4 LPs containing TNB remix-material from ASMUS TIETCHENS, SRMEIXNER, DANIEL MENCHE, CISFINITUM, FREIBAND, HATERS,KARKOWSK,ASHTRAY NAVIGATIONS, MSBR, CONTROLLED BLEEDING, OREN AMBARCHI, DIETER MUH, Z'EV, KK NULL, etc.etc. first part of this monstrous compilation project !! lim. 500 - only 250 for free distribution

the label from Essen, Germany, became a great place to discover new names of the international drone scene, who often use guitars as their priority instrument.. - PERISTALITH from San Franccisco performs on various (self build) objects and instruments with bows, creating at times massive, at times very harmonic and beautifully resonating "full drones", think of MUHAMMAD, TROUM, FENNESZ or DANIEL MENCHE's best drone works.. - lim. 250, highly recommended !!

"drone paradise" -compilation with JANEK SCHAEFER, KEITH FULLERTON WHITMAN, RAPOON, KK NULL, C PALESTINE, BASHO-JUNGHANS, TROUM, JAZKAMER, DANIEL MENCHE, and others.. low priced!

fourth part of this crazy compilation-project, Volume D feat: DAMION ROMERO, DANIEL MENCHE, DAVE PHILLIPS

compilation with US-artists by the TOUCH sublabel feat. tracks by KEVIN DRUMM, JOHN HUDAK, EARTH (!), JIM O'ROURKE, DANIEL MENCHE. some material is exclusive to this release! LAST COPY!

live recordings from 1995 made in Osaka and Okayama by AKIFUMI NAKAJIMA (aka AUBE) see now the daylight: MSBR, MONDE BRUITS, AUBE on CD 1, DANIEL MENCHE and SMALL CRUEL PARTY on CD 2... a historical document and great addition to the legendary HERZ AUS G.R.O.S.S. 4 x MC (1994, Statutory Tape) which was also compiled and remixed by AUBE, based on original G.R.O.S.S. tape releases... lim. 250 copies

108 pages, feat. DANIEL MENCHE, JG THIRLWELL, LOREN CONNORS, UNDERGROUND RESISTANCE, etc. etc.

"Tune into the shortwave bands in and around San Francisco and you're likely to discover little more than static, hiss and electrical interference broken up by an occasional transmission from a libertarian wacko in the Santa Cruz mountains. Scott Arford has spent his entire carrer manipulating a similar static from televisions in his searing audiovisual installations ans perdormances, so it makes perfect sense for him to begin investigating his hometown's cracked ether. Just as he does through his jacked up TV's, he seeks only the most caustic radio signals as his source material and aggresively cobbles together jagged layers of hotwired sound. In many ways, Arford picks up where John Duncan and Daniel Menche - particularly in the use of conglomerates of throbbing pulses and sub-frequency vibrations - Arford manages to highlight the most inherent "musical" nature of a highly fascinating cause of aural enjoyment." [Jim Haynes/ THE WIRE] "In the Bay area he's quite well-known, Scott Arford, operator of the 7HZ label, video artist, musician and collaborator of Francisco Lopez, Randy Yau and Micheal Nine. His output however is quite small. 'Radio Station' is his latest work, and it deals with one of the easiest to obtain sound sources: radio sounds. Not the speech type, or plunderphonica, but everything in between the stations - the cracks, the static, the hiss. Arford is not a sensitive man: whatever he finds on the radio waves he uses, but with a high intensity. His work is not about careful, delicate sounds, but a rather forceful, mean and loud mixture of waves crumbling over each-other, falling apart, chopped up. Not really moments of silence and contemplation here, but on the other hand, Arford isn't interested in doing 'just' a bunch of noise either. He knows how to make a strong, vivid collage of sound out of these radio station and how to make a forceful, interesting piece of music. Energetic and present. The use of radio sounds may not be entirely new, the results of Arford are certainly very very nice." [FdW/Vital Weekly]

Gerade auf Drone gefeiert, erscheint dieser neuer long-player des russischen Duos in einem großformatigen & dicken Hartgummi-Cover. Enthalten sind 8 Aufnahmen von 2001, die ins dunkle Herz des sphärisch-irrealen vorstoßen.. statisch-minimale drones mit viel Obertönen, z.T. auch sehr tieffrequenter ambient-noise a la MENCHE. Just after their great release on Drone Records this new longplayer appears in an unbelievable, large hard-gum package. We find here 8 tracks that push us into the dark heart of the spheric-irreal - static minimal drones with many overtunes, also deep-frequent ambient noise. Very well done, maybe their best release yet !! [Drone Rec. 2003]

"This album shows a projection and further maturity in Clew Of Theseus’ sound. Meridian is a dark and esoteric album, very focused, full of sounds at once harsh and ambient, with forceful drones and rich textures. Sounds were created with acoustic winds, electric guitar, analog and junk synthesizers and gritty electronics, mixed to create a foreboding atmosphere. The album was mastered by Timothy Stollenwerk at Stereophonic Mastering, best known for his work on dozens of Daniel Menche albums. Meridian was recorded in two weeks during the monsoon season of 2008. A careful study into the symbols inside the album show an obsession with elemental force and eternal power. Clew Of Theseus evokes images of furious storms, wiping the landscape of blight, bringing beautiful darkness in its wake. CD packaged in standard jewel case with full-color artwork." [label info] www.catharticprocess.com

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls. Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork. Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Echte "human drones" gibt es auf diesem feinen Release von FIVE ELEMENTS MUSIC zu hören - alle Klänge stammen von Originalaufnahmen des menschlichen Körpers ab, die weiter bearbeitet wurden. Anders als bei z.B. DANIEL MENCHE ensteht hier kein Noise, sondern pulsierende (Herzschlag?-) Dronescapes, die mit fein granulierten Mikrosounds versehen sind, dann aber auch mit unheimlichem Vokalmaterial und blubbernden, schmatzenden Sounds.. z.T. ist nicht mehr erkennbar, welche Körperteile oder Organe hier tätig waren, aber ein organisches Fluidum ist immer präsent. Faszinierend! "One more exploration of elements by FEM this time is based on prepared sounds produced by human body. All kinds of crunches, gurglings and wheezes are plaited in sophisticated sound tracery with FEM's trademark sound. An interesting phisiological experiment - listen to what your body can make in the hands of the artist." [label info] www.myspace.com/fiveelementsmusic

"Collaborating Torture is one of the last known recordings made by Matt Gibney AKA Hollowing, who died in January 2006. Gibney, a member of SOIHADTOSHOOTHIM who was also running the important Rectrix label and mail-order, was joined here by the prolific Maor Appelbaum (Grave in the Sky, Poochaltz and Maurizio Bianchi, to name a few) to create a brooding and massive 54 minutes track of dark pitch-black ambient of hypnagogic swirls and industrialized drones. Sometimes subtle, yet mostly haunted and delirious, this is highly recommended if you like Wilt, Murderous Vision, Brighter Death Now, Aidan Baker, Z'ev, Daniel Menche, The Caretaker and John Duncan. 1 track, 54 min long." [label info] www.HCBrecords.com, www.topheth.org

"Kiyoshi Mizutani: feedback. Kiyoharu Kuwayama: handmade electronics, contact mic & mix. and/OAR (via either/OAR) is very pleased to present what is without a doubt among the very best of both artist's electronic-based work. Throughout much of this highly charged release, brooding clouds of swarming tones and drones envelope the listener, either inducing a hypnotic trance or a deep contemplative listening state. This work is the result of a mail exchange. At first, Kiyoshi created the feedback sound in the studio using a suspended microphone, mixer and some effects. Sometimes drum sticks, steel and wooden chair were used to influence the sound. Kiyoshi's recorded sound was sent to Kiyoharu who then processed the materials and edited and mixed the sound with his own materials. Kiyoshi Mizutani started his sound career with the noise project Merzbow until the late 1980s, After leaving Merzbow, Kiyoshi started releasing solo work under his own name - gradually shifting away from noise to mostly recording and releasing straight environmental sound documents. Apart from Kiyoharu Kuwayama and Masami Akita (Merzbow), Kiyoshi has also collaborated with Daniel Menche and Hideaki Shimada. Apart from and/OAR, Kiyoshi has had his work released by such labels as Ground Fault, CMR, Monochrome Vision, Auscultare Research, E(r)ostrate, Artware Production, Engraved Glass, Flenix, among others. Kiyoharu Kuwayama (aka Lethe) is known for creating and recording work in highly resonant spaces or charged atmospheres (abandoned warehouses, Shinto temples, etc). Kiyoharu is also known for his involvement with the duo Kuwayama - Kijima (Kiyoharu Kuwayama : cello, and Rina Kijima : violin) who are formidable players, so well attuned to each other that their improvisations cannot be distinguished from highly complex compositions. With a particular interest in ambient sound and locations that inspire improvisation, they take advantage of the natural reverb of each location (under a bridge at night, an abandoned warehouse), and even change their position while playing to create beautiful and charged performances." [label info] www.and-oar.org "There is, like with most releases by Kiyoharu Kuwayama not a lot of information on the cover (or websites) with details about the recording, but more than some other times. Kiyoharu Kuwayama plays "handmade electronics, contact mic & mix" and Kiyoshi Mizutani just gets credit for feedback. Mizutani was in the 80s a member of Merzbow, and after leaving Merzbow he did a couple of releases, ranging from the heavy noise field to field recordings, including collaborations with Daniel Menche and Hideaki Shimada. Kuwayama is perhaps best known as Lethe and has created a bunch of releases that deal with large spaces in which he plays cello, metal objects and electronics. This release with Mizutani is one that was generated through mail, which I think is a rarity in his catalogue. Mizutani recorded feedback using a suspended microphone, mixer and effects, influencing the sound with drum sticks, steel and wooden chair. Kuwayama then processed this material and did further editing. The result is excellent. The feedback produced by Mizutani is never 'loud and dirty' as one could easily think these things would be (think harsh noise walls), but refined and varied. The sustained sounds move through your home space in an excellent way, and Kuwayama treats them with great care. The ten pieces flow into each other and form a great unified wholeness, which reminded me of the best of Arcane Device. A highly varied disc of music, excellent treatments and fine composition." [FdW/Vital Weekly]

The term "Topography" means the study of the forms and features of land surfaces., the physical appearance of natural attributes in a certain area... MATHIAS JOSEFSON aka MOLJEBKA PVLSE has adopted this notion to characterize this long form multiple-layer drone ambient expanse, a continuous flow of sound that can lead you into different aural regions...like the recent "Sacrificed Phloem (Zannec Line)" by LOPEZ/MENCHE (SYM:04) this one-tracker (exactly 70 minutes long) guides through you various stages.. after a massive beginning there's a very mellow / harmonic middle part, the aural topography of sound changes again towards the ending...a continuous "transfer" into non-ordinary states of mood & consciousness... Mathias Josefson shares his thoughts on the album: " 'Topography of Frequency and Time' is an expedition through expansive sonic landscapes that stretch beyond our daily awareness. It serves as an open invitation to transcend the visual confines of physical space, encouraging a deep dive into the unexplored realms of sound and time. This album seeks to chart the uncharted territories of our auditory experience, intricately mapping the intersections of three-dimensional space within the frequency and time domains." MOLJEKBA PVLSE, based in Stockholm and Hamburg, has accompanied Drone Records for a long time, with releases on 7" and 10" vinyl. Active since 1999, the project has evolved from more minimal droning soundscapes on to complex multi-layered atmospheric conglomerations of acoustic and electronic sounds, field recordings and found sounds, feat. various guest musicians. listen to an extract from the album: https://soundcloud.com/drone-records/moljebkapvlse-topographyoffrequencyandtime-excerpt ####################### "Mathias Josefson aka MOLJEBKA PVLSE versucht mit Topography of Frequency and Time (SYM:06) das Bewusstsein über bloßes 3D hinaus in die Dimensionen des Klanges und der Zeit mitzunehmen. Mit seiner Covercollage bietet er dazu eine womöglich schwedische Seen-Landschaft und ein Fiedeltrio aus vergangenen Tagen für die ersten Schritte in un­explored realms, die dahinter warten, uncharted territories,in denen die Imagination schweifen kann. Mit schimmerndem Tönen wie von Klangschalen, gestrichenen Metall­kanten und Glasharmonikas breitet der Schwede vor dem dritten Auge sonor dröhnende Gefilde aus, mit zugleich geschliffenen Facetten, einem elysisch vokalisierten Aaa. Doch das schwillt an mit erhaben morphendem Beben, Grollen und Wummern, orchestriert mit melancholischen Streichern, klagendem Sang, über zeitvergessene 70 Minuten. Zum Raum wird hier die Zeit, als düster getürmte Gralsburgruine, verlassenes Golgotha, weit entfernt von der gezeigten Landschaft, nach der allerdings von oben eine riesige Hand greift. Der Raum wirft Blasen und mit diskantem Anschliff und Kontrabass als eiserner Lunge wirft die Zeit elegische und katastrophisch wummernde Wellen." [BA 123 rbd]

"Archive materials from one of the most mysterious musicians in electronic underground, dating from 1988 to 1991. Each piece composed by Gen Ken Montgomery is the result of domestic alchemy, transforming some ugliest environmental sounds into artistic images of impressive beauty. His instruments are just prepared toy synth, but also from time to time laminator, icebreaker, radiator, film projector and so on. These recordings were made in Conrad Schnizler studio in West Berlin, and also live on stage there, in time of Germany reunion. Gen Ken Montgomery has been active in the experimental, electronic and noise scenes since the early 80s. Montgomery was the founder of Generations Unlimited and an original co-founder of Pogus Productions, respected experimental music labels. In 1989, he founded Generator, the first sound art gallery in New York City, where he created a home for sound artists and noise makers who were part of the thriving international cassette culture of the 80s. Since 1996 he has published recordings by sound artists in collaboration with Scott Konzelmann (Chop Shop) releasing them through Generator Sound Art." [label info] "Gen Ken Montgomery’s ‘Drilling Holes in the Wall’ is less an ambient record than it is an opus among the work of an experimental sound artist – being two divergent concepts – the latter more among artists of the ilk of Daniel Menche, who choose to create using a circus of instrumentation to perform certain plays before moving on to not just new locale, but new tools for performance sculpting. This retrospective of work is a troupe of electronic pulses, glitches, groans, explosions, susurrations, and endless other sonic perturbations. Suppurating at first, “Drilling Holes in the Wall” bloats with unhealthy ichors pressing the sores with throbbing ululations that are lanced with synaptic lacerations of noise, using sound to sonically cut and carve away tumorous flesh. Every digital strike is never the same with each collop dissected bringing new electronic whimpers unexpected; the infinitesimal filigree of surgical strikes of sound is like the marginalia of some robotic surgeon. Sound fuses, splatters, roars, and blazes contorted shapes in a linear-spatial sculpture. There is no empathy here, nothing to relate to human experience. Gen Ken Montgomery’s first track is more Opus No. 1, a matrix of half an hour of disassembly, reassembly and alien interdiction upon frequencies we recognise. It comes as great surprise to find the liner notes disclose a recording date of 1990 as it could easily sit in this milieu. Two years prior to that and the next two tracks – the latter of which and its two succeeding ones being unreleased - divulge more montage of digitally modelled scintilla, though here in more unified form, if only by sinewy electrical strands of frazzled computer nightmares of the surreal kind. Unidentifiable and humanly unpronounceable vespers are strobed and shuffled to the pulpit for recitation but there is no quantifiable bourn to address, only to witness and wonder. The last two tracks are the shortest but of the familiar distortive and displacing concurrence sound forms previously expressed. They scurry and quiver across the mottled surface of Gen Ken Montgomery’s odd musical conglomerate. The incision of human vocals in the last track is a bizarre feeding of radio station into tesla coils that seems a poor accompaniment to the unearthly welding going about it, and before it. Nonetheless, if you enjoy chewed electronics unlike anything you have previously heard, Gen Ken Montgomery is for you." [Heathen Harvest] www.monochromevision.ru

Great droning & earthquaking noise, a firestorm of sounds on many levels & with micrologic developments.... recorded live in London 2003. Soon to be rare ! “Recordings from a live performance in London during 2003 by one of the true legends of the experimental/ Anti music Scene. Totally destroyed dada-noise on a beautiful picture disk featuring collage artwork by TNB. ltd. 400” [Self Abuse] “It doesn't get more physical than this. Imagine Daniel Menche in a violent mood coupled with english actionism! A terrific end to a terrific anti-career.“ [Love Rosenström, Segerhuva]

"AIWS is the first full-length cd release from Troum since 2003. It covers studio-recordings composed from 2002-2005. These musicians have compiled some of their most favorable pieces through the years to be placed on this release. Presenting nine analogue (4&8 track) recorded compositions that lead the listener through vast feelings of beautifully deep melancholic and hypnotic states of mind. Composed with guitar-drones and harmonic phrases that are processed in various ways creating an atmosphere of the sublime and emotional meditative states that transcend listener to immerse within themselves. Ingredients: Sufi-songs, old vinyl-crackles, acoustic & e-guitars, e-bow, e-bass, voice & whisperings, accordion & flute. Stunning photography & design work by Alan McClelland(Eye.lyft). One of the most emotional and profound Troum releases to date now available on Transgredient Records. Dedicated to Eternity. TRACK LISTING of AIWS [* and meaning of titles & phrases] 1. AHMATEINS 2. AGGILUS 3. SPIRARE 4. PER SONUM 5. PANTAH 6. [GA] PLAIAN 7. PENTHOS 8. NEHEH 9. PELETÄ total length: 49:30 min [* AIWS=Eternity (gothic language), also shortcut for "Alice-In-Wonderland-Syndrome". 1. "Inspiration" (gothic) 2. "Angel - Carrier" (gothic) 3. "breathing - aspirating - sighing - smelling " (latin) 4. "through sound" (latin) 5. "way - path - line" (old indian) 6. "supplication" (persian) 7. "the sorrow of mourning - lament" (greek - also a greek god), 8. "Eternity" (egypt) 9. "escape - flight, also: rescue - salvation" (hebrew) " [label info] "... nach einigen 12“s und Kollaborationen die 7. CD des TROUM-Duos. GLIT[S]CH & BARAKA[H] sind dafür bekannt, dass sie sich zu Nietzsches „Die Welt ist tief, viel tiefer als der Tag gedacht“ tief in die Augen blicken und dann ihren Fliegenden Teppich starten. ‚Ahmateins‘ ist, bewusst analog und lo-fi, gewebt aus engen Gitarrenwellen und sämigen Drones von E-Bow und E-Bass. Flug und Flucht, Atmen und Seufzen sind dabei eins. Sound ist der Weg und das Ziel. AIWS ist nicht nur das gotische Wort für Ewigkeit, es steht auch für das Alice in Wonderland Syndrom. Prosaisch ist das eine mit Kopfschmerzen verbundene Sehstörung, metaphorisch aber heißt das doch: Die Welt mit Alicens Augen als Wunderland sehen können. Troums Zauberteppich schwebt auf harmonischen Strömen durch Rauch und Licht dahin, auf einem spiraligen Kurs ins Sublime. ‚Pantah‘ lässt den Saitenklang deutlicher erkennen, in [Ga]plaian‘ ist Sufigesang verdichtet, in ‚Penthos‘ scheint ein Akkordeon zu pumpen, in ‚Neheh‘ Licht nicht bloß zu schimmern, sondern zu singen. Tiefenmusic Reaching Our Unconscious Minds." [Bad Alchemy] "....The pieces on this new CD were recorded from 2002-2005 on Troum's own analogue equipment, all live to four-eight track recorders, without the involvement of computers. Troum, a duo (be it hard to believe), is best a live band, even when working in the studio. Their instruments are guitars, e-bow, bass, voices, accordion & flute, old vinyl. And oh, sound effects. Lots of those are involved in the music of Troum, but they never stand in the way of the end result. Spacious head music. Loud at times, quiet when necessary, but there is a certain roughness about the band, which is an element I really like. Even when things are quiet, they never really are quiet. 'Neheh' is just an example of some sparse organ like loops, feeding through some delay and bouncing gentle forward, but with a certain grittiness. Highly atmospheric even when experienced without the help of any chemicals or other illegal substances and the best but perhaps more frightful experience when played in the dark and with the headphones tied to your head. You are bound to play it again, if not only because it might be too scary to leave the room... Of all things experimental, ambient and industrial (Menche, Zoviet*France, Lustmord), Troum can easily stand the test and be the best of the lot." [FdW / Vital Weekly]

Matière Mémoire presents the MMXX Series. In anticipation of the year 2020, Matière Mémoire asked 20 great artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls, available individually or as a bundle. Each record is limited at 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each contained in a transparent sleeve printed with the MMXX logo, and each coming with a print of the artist artwork. Participate in this series : Franck Vigroux John Duncan Phill Niblock Jim O’Rourke Reinier Van Houdt Stephen O’Malley CM Von Hausswolff Hampus Lindwall Oren Ambarchi Kevin Drumm Bérangère Maximin Kassel Jaeger Daniel Menche Charlemagne Palestine Giueseppe Ielasi Carlos Casas Susanna Santos Silva Joachim Nordwall Karbé Dinel Mauro Lanza credits released March 19, 2020 MUSIC & ARTWORK BY REINIER VAN HOUDT - this music is a reworking of material I developed for Takashi Makino’s film Memento Stella (2018) Special thanks to : Rita Knuistingh Neven, Peter Fengler, Michael Pisaro and Empty Gallery Hong Kong - GRAPHICS & LAYOUTS BY CEDRIC D’HONDT - Mastering & cut by Frédéric Alstadt MMXX-04 © ART SONORE SPRL - MATIÈRE MÉMOIRE https://matiere-memoire.bandcamp.com/album/mmxx-04-les-champs-lissajous

Matière Mémoire presents the MMXX Series. In anticipation of the year 2020, Matière Mémoire asked 20 great artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls, available individually or as a bundle. Each record is limited at 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each contained in a transparent sleeve printed with the MMXX logo, and each coming with a print of the artist artwork. Participate in this series : Franck Vigroux John Duncan Phill Niblock Jim O’Rourke Reinier Van Houdt Stephen O’Malley CM Von Hausswolff Hampus Lindwall Oren Ambarchi Kevin Drumm Bérangère Maximin Kassel Jaeger Daniel Menche Charlemagne Palestine Giueseppe Ielasi Carlos Casas Susanna Santos Silva Joachim Nordwall Karbé Dinel Mauro Lanza credits released March 20, 2020 MUSIC & ARTWORK BY FRANCK VIGROUX - GRAPHICS & LAYOUTS BY CEDRIC D’HONDT - Mastering & cut by Frédéric Alstadt MMXX-01 © ART SONORE SPRL - MATIÈRE MÉMOIRE

Matière Mémoire presents the MMXX Series. In anticipation of the year 2020, Matière Mémoire asked 20 great artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls, available individually or as a bundle. Each record is limited at 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each contained in a transparent sleeve printed with the MMXX logo, and each coming with a print of the artist artwork. Participate in this series : Franck Vigroux John Duncan Phill Niblock Jim O’Rourke Reinier Van Houdt Stephen O’Malley CM Von Hausswolff Hampus Lindwall Oren Ambarchi Kevin Drumm Bérangère Maximin Kassel Jaeger Daniel Menche Charlemagne Palestine Giueseppe Ielasi Carlos Casas Susanna Santos Silva Joachim Nordwall Karbé Dinel Mauro Lanza credits released March 19, 2020 MUSIC & ARTWORK BY CM VON HAUSSWOLFF - recorded in Imperia, Italy and Alligator Head, Jamaica - composed at the Castle, Stockholm, Sweden, 2019 published by Touch Music/Fairwood Music UK Ltd - acknowledgements to Francesca, Markus and Jónsi - GRAPHICS & LAYOUTS BY CEDRIC D’HONDT - Mastering & cut by Frédéric Alstadt MMXX-03 © ART SONORE SPRL - MATIÈRE MÉMOIRE https://matiere-memoire.bandcamp.com/album/mmxx-03-for-marietta